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ROUSSEAU'S 

onst antt mcotntibt laintfr. 



BEING A FULL AND PLAIN TREATISE ON THE THEORY AND 
PRACTICE OF 



PLAIN AND DECOEATIVE 

HOUSE PAINTING, 

STAINING, GRAINING, 

PAPER-HANGING, SIGN- WRITING, &c. 



, V BY P, J. ROUSSEAU. 




BUFFALO, N. T.: 

HAAS & KELLET, PRINTERS, 200 MAIN STREET. 
1871. 






Entered according to act of Congress, in the year 1871, by P. J. Roxtsseatj, 
in the office of the Librarian of Congress, at Washington. 



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V 



PREFACE 



In presenting this little work to tlie public, tlie 
writer has aimed to embrace in as limited a space 
as possible, only snch instruction as would most 
benefit and interest the learner ; at the same time 
avoiding all unnecessary technical terms that 
would tend to confuse and lead him into vague 
uncertainties. The rules to be found in the fol- 
lowing pages, both theoretical and practical, are 
delineated in a clear, concise and comprehensive 
manner, together with a synopsis of the various 
rules and methods for the manipulation of colors, 
&c., pertaining to the painter's art 



ROUSSEAU'S 

HOUSE AND DECORATIVE 

PAINTER. 



The important matter of taste in exterior house 
painting, is one which, until recently, has received 
but little attention in this country. It was for 
many years the accepted rule, that all exteriors 
should have one unvarying coating of white ; 
and that all appendages, as blinds and shutters, 
should exhibit the greenest green which art was 
capable of producing. Ko one was bold enough 
to innovate this almost universal bad custom, and 
white in its dazzling freshness and purity stared 
at us from every quarter. There was no escape 
but to close our blinking eyes and so, find mo- 
mentary relief from the' painful discord of this 
inharmonious combination. Previous to the 
white and green eruption which broke out almost 
simultaneously in all parts of the older and long 
settled States, there prevailed a custom in New 
England, particularly in Massachusetts, of paint- 
ing exteriors with a soft yellowish cream- color, or 
yellowish pea-green. These colors, which accord 



6 ROUSSEAU S HOUSE AND 

with green, were pleasant to look upon ; and the 
eye was wont to linger lovingly on those old, rect- 
angular, cube-shaped board and shingle domi- 
ciles, which did much abound in the old Bay 
State. Afterward, in obedience to the behests of 
fashion, these colors were replaced by the pre- 
vailing white, and the eye no longer sought them 
as things of beauty in the landscape, but turned 
away as from whited sepulchures. White, in 
large masses, is out of place in the general land- 
scape, because^ it cannot be made to blend with 
the general harmony. It is harsh, discordant and 
obtrusive. It may, however, be exhibited in 
small proportions ; as, on the window-sashes, sur- 
rounded by a dark frame, with good effect. In- 
deed, there is nothing which, for this purpose, can 
take its place. In this connection it tends lo 
light up, and brighten what might without it, 
seem too sombre and dull. White harmonizes 
with all the primary colors and most of the sec- 
ondary and 'tertiary and broken colors. It is 
good with red and yellow, but feeble with the 
latter color and with blue, if the white be in ex- 
cess; and with brown; and not bad with the 
drabs and stone-colors; but with all these the 
white must prevail. The unpleasant effect of 
white in large masses on exterior house-work, 
is much relieved when contrasted with brown 
trimmings and window blinds ; but a brown house 



DECORATIVE PAINTER. 7 

would not be improved by painting the trimmings 
with white. It seems unaccountable that the 
only color, in the whole range of colors, which 
discords with white, should have been the one 
chosen to associate it with for the painting of ex- 
teriors ; and stranger still is it, that so many peo- 
ple will, to this day, exhibit these in combination ; 
the white in large masses, the green in contrast, 
but in lesser proportions. The convenience of 
white paint— the fact of its requiring no mixing 
or manipulation — has, no doubt, been a reason 
for its so general use. The putting together of 
colors, with white as a base, for producing the 
broken or accidental colors, is now to most per- 
sons a mystery which they deem themselves 
helpless to solve. Many painters, even, have not 
mastered this branch of their trade, and are quite 
at a loss to know what colors to order, for pro- 
ducing, with white, any desired tint or tone or 
shade. For the information of those who lack 
this knowledge, we give in this connection the 
only rules which can be of real service, and these 
will prove useless to the blind or the color-blind. 
Black and White are called extreme colors, and 
when mixed together in whatever proportion, 
make pure gray, of deeper or lighter tone. The 
addition of red makes a red gray ; and more red 
produces brown. Blue, added to white and black 
and red, gives a blue gray, if in proper proper- 



8 Rousseau's house and 

tion; and, if in larger quantity, brown. WhitSj 
with black and red and yellow, gives any tone of 
drab, — warm or cold, — stone-color, clay-color, 
fawn, and almost any known or unknown neutral 
tint. White with yellow, gives straw-color, lemon- 
color, buff, &c., and with red, corn-color, orange- 
color, etc. Yellow and red, make all the deeper 
and lighter tones of scarlet ; as the red or yellow 
predominates. Blue and red give crimson and 
purple ; as the red or blue is in excess. Ked with 
White, produces pink, peach and carnation colors. 
Blue and yellow produce green; and with red, 
olive green or olive brown. Purple and orange 
make russet; green and orange, citrine; green 
and purple make olive. The rules themselves are 
arbitrary, but the proportions of the different 
colors in any mixture is wholly a matter of choice 
or taste. The art of combining colors — beyond a 
few simple rules like those above — cannot be 
taught by book. Practice alone will perfect one 
in the art, and practice and example will render 
the best eye for color more discerning and will 
improve the discriminating powers of those who 
are partially color-blind ; but, as the display of 
colors has the sole object to please the eye, the 
eye alone must be counseled as to what is good. 
Every practical painter will appreciate at a 
glance the truth of the following remarks as to 
the properties which a pigment must j)ossess, to 



DECORATIVE PAINTER. 



9 



render it, under all circumstances, a desirable 
paint. It is not of tlie slightest consequence by 
wbat name it may be designated, or wbat chem- 
ists and professors may say of its component or 
constituent parts, or its property of resisting the 
action of certain gases, or its wonderful and 
never-before-heard-of " chemical affinities." All 
such talk is mere bosh; and is altogether im- 
pertinent to the question. A good paint must 
possess : 

First. The property of ojyacity ; that is, it 
must cover well. 

Second. It must work — that is spread — easily, 
smoothly and evenly under the paint brush. 

Third. It must retain its color when exposed 
to sun-light, and not darken or discolor when not 
exposed to the light ; and lastly, it must be as 
durable under exposure to sun and storms, as it 
is possible for a paint to be in the nature of the 
mixture. 

Whatever paint possesses these properties in 
the highest degree, is best — whether it is called 
lead, or zinc, or ochre, or whitewash, or butter- 
milk ; and the writer contends, that the least edu- 
cated journeyman house-painter in the United 
States, who has served an apprenticeship to the 
trade, is better qualified to judge of the value 
of the materials which he uses, in respect to 
good qualities enumerated above, than the most 



10 ROUSSEAU'S HOUSE AND 

skillful cliemist or learned professor. As a rule, 
all this professor-talk and certification is a trap 
to catch the unwary, and to help to foist upon 
the market some substance which will not stand 
upon its own merits. 

The pigments first in importance to the paint- 
er are White Lead and Zinc. It is not the inten- 
tion of the writer herein to discuss the compara- 
tive values of these indispensable materials. To 
do so is simply to stir up long seated prejudices 
and deeply rooted antipathies. Both paints have 
their respective superior qualities ; and the object 
should be to ascertain when and where to use 
them to the best advantage. In proof of the 
assertion that most of the antipathy existing 
against zinc as a paint, is only prejudice, may be 
adduced the fact that hundreds of thousands of 
tons of Zinc have been used under the name of 
Lead, which would not have found sale or con- 
sumption under its own proper name. 

To remedy the difficulty in, and meet the ob- 
jections to the employment of colors for exterior- 
house-painting, Mr. Masury, of New York, now 
the successor to the business of the lonsf estab- 
lished and wel] known house of Masury & Wliiton, 
carried out largely the idea of furnishing ready- 
made colors, which should only require to be 
thinned with oil, to render them fit for use. These 
colors are shown on a sample card, t > the number 



DECORATIVE PAINTER. 11 

of forty, and the list includes nearly all the tints 
and shades suitable for painting outside work. 
The undertaking was one of no little magnitude, 
and involved a large outlay of time and money. 
The result has, however, proved the existence in 
the community of a want of such paints. These 
goods have been in the market for several years — 
long enough to test their efficiency — and hundreds 
of people in various sections of the country have 
borne willing testimony to their durability, econo- 
my, and convenience. Success in any undertak- 
ing begets imitation, and a host of imitators have 
sprung up to flood the market with worthless 
colors, expecting to find sale for the same because 
of the reputation gained and established by the 
above-mentioned firm. To protect consumers 
from the imposition of these worthless paints — 
which will be attempted under all sorts of spe- 
cious pleas and pretences such as "equally good 
colors to last," &c., and the thousand *' ways that 
are dark and tricks that are vain," which sellers 
know how to avail themselves of to deceive the 
unwary — the manufacturers of the well-tried colors 
known as " Eailroad Colors," have adopted the 
plan of putting upon every package, not only the 
name under which the goods are sold and known, 
but also the full name of the firm, i. e. " Masury & 
Whiton, New York." The boldest imitator will 
hardly dare to counterfeit the name of the firm, 



12 ROUSSEAU'S HOUSE AND 

and this, in a measure, affords protection to the 
buyer. Eemember that oyily these colors have 
stood the test of time and the wear and stress of 
the weather influences. These paints are as well 
suited for inside as for outside work, and the 
sample card spoken of presents such a variety that 
the most fastidious may be suited in selecting 
from it. 

Referring again to the matter of taste in house- 
painting, we quote from a work recently publish- 
ed on that subject. The writer says, speaking of 
the free use of white : " It is a kind of puritanism 
" in painting which has no warrant in nature, 
" which in such matters should be our guide and 
" instructor. If we go to her humbly, as little 
" children, for instruction, she will point us to the 
" vaulted arch above, frescoed by day with a 
" thousand shapes and hues of lovliness and 
" beauty, and by night with myriads of stars ; to 
" the cool, gray tints of the morning twilight, 
'' and the gorgeous blazoning of the summer sun- 
"set. She will show us a landscape, whereon, 
" with lavish hand, she has painted forms of 
" beauty of every color and hue, and tint, and 
" shade, aud penciled with exquisite touches the 
"tiniest leaf" 

It must not, however, be supposed that in seek- 
ing instruction from nature, we are to copy the 
natural disposition of colors in the decoration of 



DECORATIVE PAINTER. 13 

our houses, either in kind or proportion. Because^ 
nature in the vernal season spreads a carpet of 
living green beneath our feet, and at all times a 
canopy of azure above us, is not ol itself good 
reason why the base of a house should be painted 
green, and the roof sky-blue. Both these colors 
should have little or no place in the external 
ornamentation of a building, for the reason — if for 
no other — that nature exhibits them in abundance^ 
and of a purity that art cannot hope to rival. It 
should be remembered that a building is not in 
any sense a natural object, but with its formal 
lines and severe angles, is artificial to the last de- 
gree; and must, under all circumstances, be 
treated as such ; and any attempt to make it ap- 
pear a natural object, by painting it with such 
colors as nature most largely displays, is ridicul- 
ous. The true theory in painting a country house 
is to render the building conspicuous, but not 
obtrusive, — to enhance its good features, if it have 
any, and diminish or hide its defects, — to bring it 
into harmony with its surroundings, and with the 
general landscape. 

The use of the primary colors, red, blue and 
yellow, and the extreme colors, black and white, 
excepting the latter in small quantity, is not ad- 
missible in exterior house painting. The advo- 
cate of white will ask exultingly, what looks 
better in a country landscape than a white house 



14 ROUSSEAU S HOUSE AND 

peeping out from a mass of green foliage ? wbich 
means simply, what looks better than a white 
house when it is covered or hidden from view ? 
For present purposes, the question of " how not 
to paint," may be considered as settled, and it be- 
comes important to ask, " how shall we paint," 
and what colors are fitted and suitable for exteri- 
pr house painting ? The economical view of the 
case will remain in abeyance, as appearances only 
are now important. The tints or tone of color, 
called neutral and semi-neutral, as drabs, fawn, 
stone-colors, grays, buffs, cream, and clay -colors, 
are most suitable for exterior painting, as also 
olive drabs and greenish browns. Two or three 
tones of color which harmonize, either by con- 
trast or analogy, may be exhibited in juxtaposi- 
tion, with good effect ; and this style of painting 
is happily now the fashion, the custom of color- 
ing exteriors with one uniform, unvarying tint, 
being among the by-gones. The art of combining 
colors with each other, and with black and white 
to produce the various hues, tones, shades, and 
broken colors, so simple to an adept, is among the 
mysteries to the uninitiated, and impossible with 
many, from the fact that not a small proportion of 
mankind are possessed of perceptive faculties 
which are not sensitive to color impressions ; L e. 
they are color-blind. The perception of color is 
a natural gift, and the eye alone must be consult- 



DECORAllVE PAINTER. 15 

ed as to what is good ; but as much depends upon 
circumstances and conditions, as bodily and 
mental sanity, its judgment is by no means in- 
fallible, as "all looks yellow to the jaundiced 
eye," and under the most favorable circumstances 
the delicate organism of the eye becomes tired 
when exercised by certain color impressions. 
Referring to those colors wherein the yellow ray 
is predominant, the writer would impress most 
strongly the fact that of all the colors except 
white, yellow is, from its strong reflective power, 
the least diminished by distance, and the most 
difficult to neutralize. There will always be more 
of it than the sample would lead one to expect 
It never comes short of its promise, and becomes 
obtrusive as it is exhibited in large masses. Cau- 
tion must, therefore, be used in the selection of 
the yellowish colors, for, unless a decidedly yellow 
tone is wanted, the result is apt to disappoint. It 
is, however, less obtrusive than white, and always 
in better harmony with the landscape, either in 
the vernal or winter season. A yellow house, 
with green blinds, is perfectly harmonious in itself 
and with its surroundings ; yellow being almost 
the only color which harmonizes perfectly with 
all the shades of green and all the shades of 
brown. 

There are, in all communities, timid persons, 
who cannot bear criticism ; who, in matters of 



16 ROUSSEAU'S HOUSE AND 

taste, have no well-grounded opinions, but are 
controlled entirely by the decided expressions of 
their stronger minded neighbors. To such, the 
writer would recommend, in house painting, the 
use of colors which are so entirely neutral as to 
disarm criticism. Variety is, however, most de- 
sirable, and no two houses in a village should be 
painted alike; supposing all to be painted well. 
Exterior house painting affords a good opportuni- 
ty for the expression of individuality, and every 
man should, in some particular, express himself 
differently from his neighbors. 

Fortunately, the al23habet of color is inex- 
haustible, so there exists no necessity for uniform- 
ity. The custom which has heretofore much 
prevailed, namely, of painting groups of build- 
ings belonging to one homestead, of uniform 
color, is not a custom to be honored. Every 
member of a group of structures should have its 
individual color, as it has its own form and size. 
One general tone should pervade the whole, but 
each should have its distinctive color, except 
where it may be desirable to hide or diminish 
some of the lesser buildings. That will best be 
accomplished by painting such of the same color 
as the main or principal building. As a rule, the 
principal building should present the lightest 
shade. 

The harmonics of color, when placed together 



DECORATIVE PAINTER. 17 

in contrast, are as follows : Bed harmonizes with 
Hue, and white, and yellow, and black, and 
brown, and gold. 

Blue, harmonizes with black, and white, and 
red, and yellow, and crimson, and scarlet and 
purple. 

Yellow, harmonizes with blue, and black, and 
red, and green, and scarlet, and crimson, and 

purple. 

White, harmonizes with all the primary and 
secondary colors except green. 

Black, harmonizes with all the primary and 
secondary colors, except green. When placed in 
contrast with that color, a line of white or yellow 
should separate them ; otherwise both lose by the 
connection. 

Gold, harmonizes with every color, especially 
with green, and purple, and scarlet, and crimson, 
and brown, and black. 

The discords in colors are as follows : 
Yellow and pink ; green and purple-red ; olive 
and red ; slate and green ; russet and green ; blue- 
green and lilac ; scarlet and olive-green ; crimson 
and green ; crimson and olive ; mulberry and 
green ; claret and green ; lilac and green ; red- 
brown and green; purple and citrine; blue- 
purple and green ; and the worst of all discords 
is purple and green. 



18 KOUSSEAU'S HOUSE AND 



PEACTICAL TASTE. 



The practice of painting blinds, doors, caps, 
sills, sash, cornice, stoop, &c., of several colors, is 
objectionable to persons of refined taste, as it 
breaks up the mass of general unity of effect, 
tending to belittle the structure. One color of 
various shades, on nearly all parts of the house 
produces a more impressive appearance. By a 
little farther consideration of the subject, we will 
find there is something practical to be learned by 
its study in relation to interiors. The color of 
almost any object is of importance; especially is 
it so in its association with other objects and sur- 
roundings in our homes, where so large a part of 
our hours are spent, and our dearest interests cen- 
tre, instead of adopting plans and styles as it were 
by accident, as is often the case ; thought should 
be given to the tastes of those who are to occupy 
the house as well as to the fitness of plans to the 
purposes intended. The various workmen who 
make and finish our homes ought certainly to un- 
derstand their respective avocations thoroughly; 
but, unfortunately, many do not, consequently 
owners naturally looking to tradesmen for guid- 



DECORATIVE PAINTER. 19 

ance m their lines of business, are misled into 
blunders wbicli are not discovered until too late 
to remedy, unless by doing the work all over 
again, which most persons are not willing to un- 
dergo. "We frequently see colors allowed, not at 
all in keeping with the purposes of the room, be- 
cause, perhaps the painter, decorator or furniture 
dealer has a "run" on a certain style or wishes 
to dispose of material "on hand," or some one 
else of "fashionable inclination" has patronized 
it, and so, whether suitable or not, it is adopted. 
If a room is so situated as to admit but little light, 
just as likely as not it is finished in painting and 
papering of dark, dull colors. Imagine how dif- 
ferent the effect on the mind of a person occupy- 
ing such a room in contrast with the same place 
treated with light, cheerful, colors. 

In the finishing and furnishing of rooms de- 
voted to social purposes, as parlor, dining-room 
and sitting room, all will probably agree ujoon 
having them bright and cheerful, and it may be 
even gay ; yet there is a too j^revalent inclination 
to gorgeous display, and so lavish brilliant colors 
as to detract from the guests or others in the room : 
particularly is it the case with carpets; it seems 
as if dinginess of carpets in general only catered 
to the vulgar taste for the gaudy and brilliant 
It is true, tasteful carpets are to be had, but such 
as are too expensive for those of moderate means; 



20 ROUSSEAU'S HOUSE AND 

usually the figures are so large tliat they only 
suit large apartments. If such are put on the 
floor of a small room it is made to appear the 
smaller by it. The more intricate the design and 
smaller the pattern the better suited to a small 
room, and tends to make the size of the apart- 
ment greater. The same rule is applicable to 
papering and frescoing. 



TOOLS AND FUENITUEE. 

The tools required and best adapted to the 
general house and decorative painter : To ensure 
success in the various branches we would recom- 
mend the following, viz: Oval, ground bristle 
varnish ^brushes, for all kinds of surface work ; 
they are in general use in all first class establish- 
ments. A correspondent of the Mechanics' Maga- 
zine^ (vol 1, p. 229,) makes an objection to the 
use of round brushes, which must be allowed to 
have considerable weight "Being made round," 
he says, " they are by no means well adapted, in 
that shape, for laying on a flat surface ; the con- 
sequence is that painters invariably use their 
brushes but one way, for the very purpose of 
wearing them flat, which goes to prove the neces- 
sity of an alteration in their general shape." He 
then describes one which he made with a flat 



DECORATIVE PAINTER. 21 

handle, and found it to answer mucli better for 
all common purposes than the ordinary round 
brush. The handle was of beech, about an inch 
and half wide and three-eighths of an inch thick, 
and near the end (to which the hairs were tied) was 
beveled off to a thin edge. 

Never attempt interior painting with a new 
brush, or on finishing coats of any kind until 
they have been worn to a certain extent on coarse 
work of some kind. This rule can be applied to 
brushes of all kinds. In this way you will obvi- 
ate the trouble and vexation of having your 
work filled with hair and bristles, when expe- 
dition is most required, such as laying, flatting, 
demar, and other quick drying varnishes. 

2. In the schedule of brushes are sash-tool, 
dust-brush and water-tool brushes for graining 
purposes; one four-inch (width) badger hair blen- 
der or softener ; one two-inch hog s hair mottler ; 
one grainer's brush ; the last mentioned is used 
most in stain graining; it consists mainly in 
taking a half worn varnish brush and cutting out 
in small patches, at intervals, so it will have the 
appearance of a coarse comb. 

3. Striping, ornamenting and lettering pencils : 
The first mentioned should be long and slim, and 
those best adapted to scrolling, &c., should be 
shorter and diamond pointed when filled. Filling 
pencils, for sign writing, are best when broad and 



22 RorssEAu's house and 

square pointed. Camel's hair pencils are in gen- 
eral use, and are the best adapted to the mechan- 
ical painter. Sable, martin and swan's-down are 
used most by the artist. 

4. In order, will be a set of steel graining 
combs, which will vary in width from one-half to 
four inches ; although combs equally as good can 
be made at a trifling cost, by procuring a piece 
of gutta-percha and cutting it into the desired size. 
Care should be taken to have the edges straight ; 
take a pen -knife and cut in slanting each way to 
the depth of a quarter of an inch, leaving a small 
space between each tooth ; by this method they 
can be made fine or coarse to suit the work ; sole 
leather, or cork, is sometimes substituted, which 
answers a good purpose in the absence of steel 
or gutta-percha. 

5. Putty and palette knife, chamois skin, sponge, 
step-ladder, lump and pulverised pumice stone, 
sand paper, &c. 

Formerly a slab and muller were indispensable 
articles in the furniture of a paint shop. These 
have been, in a great measure, superceded by the 
iron paint mill, and the latter, in some degree, by 
the introduction of ground colors put up in tin 
boxes (commonly called ^^ cans^'') of convenient 
size. These boxes, after the manner of fruit cans, 
are sealed by soldering a patch, or disc, of tin over 
the opening through which the contents were in* 



DECORATIVE PAINTER. 23 

troduced, and being hermetically closed, the paint 
remains unchanged until such time as it may be 
wanted for use. 

The objection, formerly, to this mode of putting 
up colors, was the difficulty of opening the cans, 
particularly the smaller ones. This has, however 
been entirely removed by an invention, which is 
patented, and which most effectually overcomes 
the difficulty before mentioned. It consists sim- 
ply in making one end of the can of thinner metal 
than the body and bulk of same, so that the said 
end may be cut out with a penknife. To get at 
the contents requires but an instant of time, and 
may be effected without waste of material, or even 
soiling the fingers. 



TEUE ECOJSrOMY IN THE USE OF PAINTS. 

The fact cannot be too forcibly impressed on 
the minds of all who may be engaged in the busi- 
ness of painting, that good results can he produced 
only hy the use of good materials. The best are al- 
ways the cheapest. The main expense in painting 
is not in the cost of the paint, but in that of labor 
and oil ; and it requires more labor to apply the 
luorst^ than to apply the best paint that can be 
©btained. The cheapening of paints by the ad- 
mixture of adulterating materials, is carried on 



24 ROUSSEAU'S HOUSE AND 

to the last degree — probably to a greater extent 
than in any other article of general use and con- 
sumption. 

The experienced eye can with difficulty detect 
the difference between colors which are pure and 
those which are highly adulterated, the only test 
being actual use and application. The safe way 
therefore, is to purchase such colors only as bear 
the name of some well known and responsible 
manufacturer. 

The writer would not, however, be understood 
as advising the use of the best white lead or zinc 
for all kinds of painting ; there are paints much 
more economical, because more durable, for out- 
side work than these. The ochres, or earth-paints, 
are, for many purposes, the best and cheapest. 
Paints are durable, mainly, because of the water- 
proof quality of the oil in which they are used. 
Some paints, the ochres for instance, are inert 
substances, and do not in any degree change the 
nature of the oil ; while others, such as white lead, 
affect the oil chemically, and impair, in a measure, 
its tenacity — its property of resisting the action 
of water and the sun's rays. 

Much of out-side wood work is painted simply 
to preserve it from the action of the weather, 
color and appearance being in such cases, unim- 
portant considerations. Hence, it follows that 
whatever material will most economically produce 



DECORAaiVE PAINTER. 25 

this result, is the most desirable, regardless of the 
name it may bear. 

The natural deposits of ochres (colored earths) 
belong to what is known in geological nomencla- 
ture as the Jurassic period. 

The time when these deposits occurred is a 
matter of pure speculation, and may as well be 
supposed to have taken place five hundred thous- 
and years ago, as at any period more or less re- 
mote. As has been before remarked, had these 
materials been liable to change, it is only reason- 
able to suppose that such change would have 
occurred during the ages that they remained un- 
appropriated to the use of man ; and experience 
teaches that they are not subject to those changes 
which belong to most of the artificial products 
used in painting. 

Hence the value of these native pigments. Eco- 
nomically considered, they are undoubtedly the 
most valuable of all the paints, where primary or 
prismatic colors are not absolutely required. 
The only change tbey are liable to, is a change of 
place. They may be, and are, of course, wasted 
by the slow disintegration of the coating which 
they form with the oil, but in color (when un- 
mixed with white), they are inflexibly permanent, 
and stand exposure to the sunlight without fading 
or bleaching in the slightest degree. Nor are 



26 ROUSSEAU'S HOUSE AND 

the J affected by the action of acids and gases, as 
are most of the artificial paints. 

Kow that the day of whites and light tints is 
passing away, and a better taste in decorative or- 
namentation is about to prevail, it becomes all 
those CDgagad in the business of painting, to con- 
sider to what extent these natural pigments may 
be made to take the place of the artificial com- 
pounds which have heretofore been considered 
indispensable, and for which it has been supposed 
impossible to find substitutes. 

It must be remembered that the native pig- 
ments are in inexhaustible supply, that they are 
of almost universal distribution, and that they are 
not known to possess any value except for the 
purposes of painting ; nor is the production and 
prejiaration of them supposed to affect the health 
of the workmen engaged in it unfavorably. So 
far, therefore, as they can be substituted for those 
paints, the production of which lessens the stock 
ot useful metals, the use of them adds directly to 
the wealth of the country and of the world. 
Their application is strongly recommended when- 
ever they can be made to take the place of the 
more expensive metallic substances as " True 
Economy in the use of Paints." 



DEUOKATIVE PAINTER. 27 



RAILROAD PAINTS AND COLORS. 



These paints are designed to supply a want 
which has long been acknowledged — which is 
cheap, reliable, ready-made colors for painting the 
exteriors of country houses, fences, out-buildings, 
roofs, &c. They are the result of a series of ex- 
periments and tests extending over many years, 
and are confidently recommended as possessing 
all the required qaalities for preserving wood, iron, 
stone, tin and plaster from the action of the 
weather. 

They are warranted more water-proof than any 
paint ever before offered, and are fire-proof to as 
great a degree as any paint now in use. Being 
ground in oil perfectly fine, tliey work smoothly 
and easily under the brush, possess a density and 
covering property unequaled by other substances 
used in painting, and can be applied by those not 
skilled in the use of the paint brush, without any 
mixing or manipulation other than being thinned 
with oil, benzine or turpentine, to suit the work. 

For painting freight cars, wood and iron bridges, 
iron buildings, tin or iron roofs, warehouses, store- 



28 ROUSSEAU'S HOUSE AND 

houses, out-buildings and fences, or exterior work 
of any description, the Eailroad Paints will be 
found superior in every respect to any paint ever 
applied. 

The Kailroad Paints being mostly natural colors, 
are not liable to change or fade, as are most facti- 
tious pigments ; and a given quantity of the for- 
mer will cover a much larger area of surface than 
will the same quantity of white-lead, while the 
first cost is only from one-half to two-thirds as 
much. 

Samples of the shades and colors of the Eail- 
road Paints on painted paper, with prices, will be 
sent by mail, upon application accompanied by 
stamps to pay return postage. 

The paints are put up in barrels, half-barrels, 
and in 100-lbs. kegs, ready for use when thinned 
with raw or boiled linseed oil, or turpentine, or 
benzine, as may be required to suit the work. 

Many of the materials sold under various 
names, and recommended for painting, are in their 
nature totally unsuited for such purpose, being 
semi-transparent, and consequently wanting the 
property without which no pigment is valuable 
or economical, for ordinary exterior house paint- 
ing. They are too coarse, gritty and sandy, which 
renders the spreading of them evenly, a task not 
easy of accomplishment. In hue and tone of 
color they are disagreeable and unpleasant. A 



DECORATIVE PAINTER. 29 

dingy chocolate-colored exterior is not in harmony 
with any landscape. No matter what the charac- 
ter of the structure may be — whether it be isolated 
or attached to other buildings — whether it be a 
corn-crib or cow-house — if the same be worth 
painting at all, it is worth painting with some re- 
gard for the laws of harmony and the "fitness of 
things." 

Every house, barn, out-building, or fence, be- 
comes, when painted, a more conspicuous object 
-'q the landscape than it otherwise would be; and 
the cost of painting the same in conformity with 
the laws of harmonious arrangement and proper 
adaptation to the surroundings, is no greater than 
to paint in such a manner as to set all these laws 
at defiance. 



PEEPAKATION OF COLOES. 

The art of preparing colors for the use of the 
painter, is one which requires the thorough prac- 
tical knowledge of the nature and composition of 
the various pigments, and skill in the selection of 
the same, as well as an entire familiarity with the 
different degrees of fineness which the colors may 
require to fit them for the purposes to which they 
may be applied. Some paints lose their brilliancy 



80 KOUSSEAUS HOUSE AND 

and beauty by too much crushing and grinding, 
and become dull, pale, and comparatively worth- 
less, while others require grinding to the last 
degree of fineness, to develop the color which is 
in them. Notwithstanding these facts, which are 
known to every painter who has been properly 
educated in his profession, the business of prepar- 
ing colors for his use is, to a great extent, in 
the hands of persons entirely ignorant of the 
nature of j)aints and the requirements of the 
painter. 

Active and ever increasing competition has be- 
gotten a strife, not as to who shall produce the 
best possible paints, but as to who shall put upon 
the market the worst article which can, by 
any stretch of fancy, be called a "ground 
color." This evil has, however, like most others, 
worked out (or is in process of working) its own 
cure. Experience is teaching the lesson, where 
it has not already been learned, that "cheap paint," 
that is, paint made to sell at a low figure by means 
of extreme adulteration, is "dear at any price." 
This rule, however, is not of universal application, 
but it is intended to apply to painters, mostly, who 
have the means and knowledge required to avoid 
the waste of good material. 

There are many cases where a small quantity 
of color is required to produce a certain tint, and 
colors cannot always be obtained in such small 



DECOEAllVE PAINTER. 31 

qualities as may be desired. In such cases, it 
would be advisable to buy a cheap article and 
consume it all, rather than to buy the best and 
suffer a large portion of it to be wasted. It must 
be borne in mind by the painter, that in cheap- 
ening paints by the admixture of adulterating 
materials, the reduction must be made wholly in 
that portion of the mixture which possesses the 
coloring property he requires. There can be no 
corresponding cheapening of all the materials. 
The oil, the labor, and packages cost as much for 
the poorest as for the best colors; therefore a 
color which sells at twenty cents per pound may 
possess, really, three times as much intrinsic value 
as one which sells at one-half that price. There 
can be no better rule for a painter to adopt, than 
to huy always the best colors^ and in packages as 
large as the requirements of his trade will justif}-, 
with a view to strict economy and the prevention 
of waste. 



32 ROUSSEAU'S HOUSE AND 



PKEPARATION OF WOKK FOE 
PAINTma. 



In preparing work for painting, too much care 
can not be exercised, as succeeding coats, and the 
final result depend very much on the proper con- 
dition of the work when the priming coat is ap- 
plied. First, all the rough places in the wood 
should be rubbed down with a block covered 
with sand-paper; and the moldings and beads 
should be well cleaned out with sand-paper. 
Then, (and this is a matter of prime importance,) 
every knot however small, every indication of sap 
on the wood, or discoloration of any kind, and 
every appearance of pitch or gum, should be 
carefully varnished over with white shellac varnish^ 
if the work is to be finished in white or light 
tints ; or, with varnish made from unbleached or 
common shellac, if the work is to be finished in 
dark shades. The common shellac, in the latter 
case answers equally well with the bleached arti- 
cle, and at less cost. This should not, under any 
circumstances be neglected, as it is impossible, in 
the nature of things, otherwise to make good 



DECORATIVE PAINTER 83 

work. Shellac varnisli is made simply by dis- 
solving bleached shellac in alcohol, in the propor- 
tion of two pouuds of the former to one gallon of 
the latter. More or less of the gam may be used 
to give the required strength. 

The varnish is easily diluted by the addition 
of alcohol, or made stronger by the addition of 
more shellac. [In cases where color is not impor- 
tant, the ordinary unbleached shellac will answer, 
and the cost is much less.] It is most readily 
prepared in a tin can or bottle, which requires 
occasional shaking during the process. A gentle 
heat facilitates the operation. It may be prepared 
in greater or less quantity, and rendered perfectly 
transparent by passing it through a filter paper. 
It then becomes the best possible varnish for pic- 
tures. The alcohol must be of a strength of 
ninety-five per, cent. 

When work is to be finished with two coats, the 
putty used for stopping the nail-heads, and other 
indentations, should be made of white-lead, worked 
up with common whiting to the proper consis- 
tency, and the filling should be done after the 
first coat shall have become well dried. When 
more than two coats are to be applied, the filling 
should be done between the first and second coats 
with ordinary pure linseed-oil putty- 
It should be adopted as a rule, never to apply 
jmre white as a priming coat, no matter whether 



84 ROUSSEAU'S HOUSE AND 

the work is to be finished with one ov four coats. 

Tiie result will always be more satisfactory, if 
the first coat be stained. A little finely ground 
lamp-black answers as well for this as any thing. 

The only way to produce solid uniform work 
is by making every succeeding coat lighter in tint 
than the one which preceded it. This is specially 
the case with walls and other extended flat sur- 
faces. No matter what the finish is to he, the first 
coat should always he darker than the one which 
succeeds it; and the darker the shade of the finish- 
ing coat the more important it is that this rule 
should be observed. If the work is to be finished 
with black, prime with black ; if with green, let 
that be the color of all the preceding coats. If 
with blue, let that color be the ground work. 
What can be more stupid than applying to work 
which is to be finished in imitation of black wal- 
nut, a priming coat of white? All work should 
he primed especially with regard to the finishing 
color. 

There is not used half enough of dark colors in 
priming applications. 

Venetian red, finely ground in boiled oil, deeply 
stained with black, and used very thin, in order 
to stain the wood as nuch as possible — is the best 
first coat for work which is to be finished in imi- 
tation of black walnut or other dark wood. The 
succeeding coats should be as dark as mny be, 



DECORATIVE PAINTER. 35 

witli a view to the proper shade of ground work 
for the graining. In such case, if (as must hap- 
pen in the ordinary course of events) the work 
becomes bruised or " chipped " by an accidental 
knock from a chair leg or other article of house 
furniture — the general appearance of it is little im- 
paired thereby. Quite the contrary, however, is 
the case if the underneath coats are white. There, 
an accident of the kind before mentioned, shows 
a white spot, which strangely proclaims the work 
to be a delusion and a sham. Dark colors, too, as 
the Venetian red before mentioned, make better 
foundations than white-lead or zinc; they dry 
harder and " rub " better, and, what is most im- 
portant, cost less. 

This matter having been duly considered, let 
us now proceed to the coat succeeding the first. 
Before applying a second coat, the first should be 
carefully rubbed, and all the nail-heads and other 
indentations carefully stopped with pure linseed- 
oil putty, using for flat surfaces a square-bladed 
putty-knife. 

Puttying with the fingers should never be tol- 
erated, (good work is now the subject under con- 
sideration.) This done, the whole should be 
carefully examined to ascertain if the oil in the 
former coat shall have revealed any resinous or 
pitchy spots not previously covered with the shel- 
lac. [But for the present high price of alcohol. 



3Q ROUSSEAU S HOUSE AND 

the writer would recommend tlie application of 
tliin shellac varnish to the whole surface between 
the first and second coatings.] These prelimina- 
ries being attended to, the work may be considered 
ready for a second coat. The directions as to rub- 
bing with sand-paper are to be observed in all 
succeeding coats. As a rule, on interior work, 
paint should never be applied to a surface which 
has not been previously rubbed. 

Sand-paper for fresh work, and pumice-stone for 
old work Always distrust the education of a 
painter, in his trade, who goes to work without a 
lump of pumice-stone, a sheet of sand-paper, a 
putty-knife, and a rag to wipe off the spatters — 
sparks, as the Irish not inaptly call them. 

Ajjropos of spatters ! Every painter has seen 
(the result, too, of unpardonable negligence) plates 
of glass so covered with spatters, that, to remove 
them, would require more time than would serve 
to paint the wood-work of a '* full-trimmed " win- 
dow. 

In priming work which is to be finished in oak, 
finely-ground French ochre is recommended. The 
objection to this pigment, that it does not work 
smoothly and easily under the brush, has risen 
from its coarseness. Finely ground in boiled oil, 
it works as smoothly as white-lead, and makes an 
excellent foundation for the succeeding coats. 



DECORATIVE PAINTER. 37 

For walls, the first coat should be as dark in 
shade, and as thin as practicable — the object being 
to stain the plaster as much as possible. Indeed, 
if the whole mass of plaster could be stained 
through and through, it would be desirable to so 
stain it. 

The use of glue in wall-painting is of doubtful 
propriety. It should never, under any circum- 
stances, be put on until after the second coat, and 
then rubbed on with a rag very lightly. In first- 
class work, however, its use is not recommended. 

Plaster, mixed with weak glue size, which pre- 
vents its setting too rapidly, is the best material 
for stopping walls preparatory to painting, and 
each coat of paint should be carefully rubbed 
with worn sandpaper before the succeeding coat is 
put on. 

For preparing walls, a small pocket-trowel will 
be found a most serviceable tool ; or a trowel- 
shaped putty-knife, which is now coming into 
general use. 

The preparation of ceilings for white-washing 
(or kalsamining as tbe operation is sometimes pre- 
tentiously called,) is an operation requiring some 
skill and knowledge of " how to do it" A dirty 
ceiling which has been subjected to successive 
coats of white-wash, whether of lime, or whiting 
and glue size, can not be made solidly and smooth- 
ly white by additional white-washing. The mass 



38 Rousseau's house and 

has become spongy, and sacks up the water so 
quickly that the material cannot be evenly dis- 
tributed. In such case, the only way is to begin 
anew — to go at once " down to hard pan," remov- 
ing all the previous applications, by washing and 
scraping. This is best effected with a broad- 
bladed, square-pointed putty knife, keeping the 
ceiling wet meanwhile. Plaster (hard finish) is 
not of uniform density, and some spots are much 
more absorbent than others. To remedy this, 
a mixture of soft soap and alum, dissolved in 
water should be applied with a broad kalsomine 
brush. 

All priming for work to be finished in oil 
should be diluted in oil, using not a particle of 
turpentine. In no case should wood in a wet 
state be painted in oil, the consequence in such 
cases, being the speedy decaying of the wood or 
the sealing, and casting off of the paint. 
Priming coats, on exteriors, require to be thin, 
using only a small quantity of color ; where it is 
applied in thick masses the wood will drink up 
the oil, leaving a crust on the surface which will 
soon disappear in flakes (or dust off,) having the 
appearance of flour. For work exposed to the 
weather, the turpentine should be wholly omitted, 
and oil alone employed in all coats. 

Secoxd Coat for Interiors. — Mix with raw 
oil and turpentine, eaual parts, or dilute ready- 



DECORATIVE PAINTER. 89 

ground colors wholly with turpentine ; add a small 
quantity of dryer, (if dark, use the liquid brown 
japan, or patent dryer ; if white, sugar of lead is 
best.) As to the quantities required, experience 
must be the teacher, as some paints do not require 
the same amount as others. This coat should be 
put on as thick as will spread and rub out, cross 
smooth lightly with the tip of the brush. 

^''hird Coat. — Same as the second, with the 
exception of using more turpentine, it requiring 
to be a trifle thinner. 

Coats for out-side may be of the same consis- 
tency as the above, using raw or boiled linseed, 
oil. 

Flatting. — Consists in employing turpentine 
in the place of linseed oil in diluting colors, using 
only sufficient oil to bind the paint and fix it on 
the ground, say one-fifth oil to four-fifths turpen- 
tine. This requires to be mixed thin and spread 
on quickly; finish lengthwise, without cross- 
smoothing with light sweeps of the tip of the 
brush ; this will set in less than thirty seconds, 
after which it will not do to retouch, or it will 
show a gloss. Care must be taken to spread this 
on quickly and evenly. The room requires to be 
kept close, and free from any draft of air. 

Porcelain Finish. — First and second coating 
with lead same as above ; the third coat requires 
to be the best French zinc, mixed flat; when 



40 KOUSSEAU'S HOUSE AND 

dry and hard, you will mix your porcelain finish 
by adding white demar varnish to your zinc flat- 
ting, and flow on a coat the same as you would 
varnish. Each coat should stand two or three 
days before receiving another. 

Sulphate of zinc, or sugar of lead are the only 
proper dryers for flatting ; either of them may be 
dissolved in water, and stirred into the color, add- 
ing it gradually. 

Flatting or varnishing should be finished (each 
piece) before commencing another or you will 
make bad work. 

Have a rule and system in your work, if you 
would have success. We will take a door for 
instance, for painting which there is an established 
rule, that is but seldom deviated from, viz : — 

Rules for Painting Doors. — The first im- 
portant consideration is to have your door thor- 
oughly sand-papered and dusted, (not forgetting 
the top, as there will always be found a quantity of 
dust accumulated, which your paint or varnish 
brush is apt to gather and distribute on your paint, 
&c.) After these precautions have been taken, 
next proceed to divest the door of its trimmings, 
which is simply and quickly done, requiring the 
use of a screw-driver only ; next whittle out a 
stick of hard wood and shove it through the key 
or knob-hole, as a temporary handle ; commence 
on either of the upper pannels, by flowing in your 



DECORATIVE PAINTER. 41 

color or varnish around the edges, working it well 
into the moldings ; then coat the flat surface of 
the panel even ; first, lay off the work up and 
down, then cross, smooth and finish up and down 
with the tip ol the brush lightly, wipe up all 
surplus paint on the moldings, finish remaining 
panels, (^. e., on that side of the door,) the same. 
The object is to complete one side before com. 
'mencing another; next the edges, cross-pieces 
and uprights in rotation. In painting doors, in- 
doors, for kitchen, dining-room, and sitting room, 
the panels should be painted in a lighter color 
than the frame work. The same harmony should 
be observed in the remaining wood-work, the 
door and window casings should be light, the foot 
or base dark, and the moldings above it light. 



42 ROUSSEAU'S HOUSE AND 



STAINS IN IMITATION OF VARIOUS 
KINDS OF WOOD. 



Black No. 1. — Drop a little sulphuric acid in 
a small quantity of water, brush, over the wood 
and hold it to the fire ; it will be a fine black and 
receive a good polish. 

Black No. 2. — Take half a gallon of vinegar, 
an ounce of bruised nut-galls, of logwood chips, 
and copperas, each half a pound, boil well ; add 
half an ounce of the tincture of sesqui-chloride 
of iron, formerly called the muriated tincture, and 
brush on hot. 

Black No. 3. — Use the stain used for iron. 

Black No. 4. — Take half a gallon of vinegar, 
half a pound of dry lamp-black, and three pounds 
of iron- dust, sifted ; mix, and let stand for a week ; 
lay three coats of this on while hot, and then rub 
with linseed oil, and you will have a fine black. 

Black No. 5. — Add to the above stain an 
ounce of nut-galls, half a pound of logwood 
chips, and a quarter of a pound of copperas ; lay 
on three coats, oil well, and you will have a black 
stain that will stand nnv kind of weather. 



DECOKATIVE PAINTER. 43 

Black No. 6. — Take a pound of logwood chips, 
a quarter of a pound of brazil wood, and boil for 
an hour and a half in a gallon of water. Brush 
the wood several times with this decoction while 
hot ; make a decoction of nut-galls, by simmering 
gently, for three or four days, a quarter of a 
pound of the galls in two quarts of water ; give 
the wood three coats of this, and while wet lay 
on a solution of sulphate of iron, (two ounces to 
a quart,) and when dry, oil and varnish. 

Black No. 7. — Give three coats with a solu- 
tion of copper filings in aqua-fortis, and repeatedly 
brush over with the logwood decoction, until the 
greenness of the copper is destroyed. 

Black No. 8. — Boil half a pound of logwood 
chips in two quarts of water, add an ounce of 
pearl-ash, and apply hot with a brush ; then take 
two quarts of the logwood decoction, and half an 
ounce of verdigris, and the same of copperas, 
strain and throw in a half-a-pound of iron- rust. 
Brush the work well with this, and oil. 

No. 9. Black Walkut — Burnt nmber mixed 
in vinegar, or stale ale ; apply with a sponge. 
Solution should be very thin ; this will require 
from two to four coats of varnish. 

Black Stain for Iron Work. — To one gal- 
lon of vinegar, add a quarter of a pound of iron 
rust; let it stand for a week; then add a pound of 
dry lamp-black, and three-quarters of a pound of 



44 Rousseau's house and 

copperas ; stir it up for a couple of days. Lay five 
or six coats on your work with a sponge, allowing 
it to dry between eacli coat. Polish with linseed 
oil and a soft woolen rag, and it will have the ap- 
pearance of ebony. 

Stain for Blue. — Dissolve copper filings in 
aqua-fortis ; brush the wood with it, and then go 
over the work with a hot solution af pearl-ash, 
(two ounces to a quart of water,) till it assumes a 
perfectly blue color. 

Blue No. 2. — Boil a pound of indigo, two 
pounds of logwood, and three ounces of alum in 
a gallon of water ; brush well over until thoroughly 
stained. 

In Imitation of Botany Bay Wood. — Boil 
half a pound of French berries, (the unripe ber- 
ries of the rhemnus infectorius,) in two quarts of 
water, till of deep yellow, and while boiling hot 
give two or three coats to the work. If a deeper 
color is desired, give a coat of logwood decoction 
over the yellow ; when nearly dry, form the grain 
with No. 8 black stain, used hot, and when dry, 
rub over the work thoroughly with a dry woolen 
cloth and varnish. 

Mahogany Color, Dark, ISTo. 1. — Boil half 
a pound of madder and two ounces of logwood 
chips in a gallon of water, and brush well over 
while hot ; when dry, go over the whole with a 
pearl-ash solution, two drachms to the quart. 



DECORATIVE PAINTER. 45 

No. 2 — Pat two ounces of dragon's blood, 
braised, into a qaart of oil of turpentine ; let the 
bottle stand in a warm place, shake frequently, 
and when dissolved, steep the work in the mix- 
ture. 

No. 3. — Boil one-half pound of logwood chips 
in two quarts of water ; let cool, and add a hand- 
full of walnut peelings. Boil again, strain the 
whole and add one-half pint of vinegar. This 
stain is designed for beech, maple, etc. 

No. 4. — This is simple and quickly done. Mix 
burnt sienna (dry) in vinegar, solution to be thin ; 
apply with a sponge. This can be grained and 
shaded with the same thickened up, which should 
be ready prepared in another vessel, and applied 
while the first coat is wet. If you do not succeed 
in getting designs to suit, this coat can be rubbed 
off by saturating your sponge in vinegar and wet- 
ting up the surface ; will do to varnish in half an 
hour. The above rule can be observed in graining 
in ale. 

No. 5. — The ground work to be a bright or 
ange, (see rules for mixing tints.) Mix burnt 
sienna in ale or vinegar, same as in No. 3, using 
a sponge. The grain can be combed out by using 
a stiff seam brush, such as is used by ship and 
boat painters, for working paint in seams of the 
planking ; lights can be rubbed out with a damp 
cloth. Shade with any of the black stains. Finish 



46 KOUSSEAU'S HOUSE AND 

panels first ; next cross pieces ; end with the up- 
rights. From three to five coats of varnish will 
be required on all of the distemper staining and 
graining. 

JSTo. 6. — To prepare walnut to imitate mahoga- 
ny is simple and has a very desirable effect, which 
is done in the following manner : Apply aquafor- 
tis to your work by means of a rag made fast to 
a stick, bound on with twine ; a brush cannot be 
used, as it would very soon destroy it. Coat the 
work as evenly as possible and set it in the sun to 
dry ; if no sun, heat the aquafortis in by a stove. 
Finish up with varnish or French polish. 

Light Eed. — Brown. — Boil half-a-pound of 
madder and a quarter of a pound of fustic in a 
gallon of water ; brush over the work when boil- 
ing hot until properly stained. 

No. 2. — The surface of the work being quite 
smooth, brush over with a weak solution of aqua- 
fortis, half an ounce to the pint, and then finish 
with the following : Pat four ounces and a half of 
dragon's-blood and an ounce of soda, both well 
bruised, to three pints of spirits of wine. Let it 
stand in a warm place, shake frequently, strain 
and lay on with a soft brush, repeating imtil of a 
proper color ; polish with linseed oil or varnish. 

Stain FOR Purple. — Brush the work several 
times with the logwood decoction used for No. 6 
black, and when dry give a coat of pearl-ash solu- 



DECORATIVE PAINTER. 47 

tion, one drachm to a quart, taking care to lay it 
on evenly. 

Stain for Eed. — Boil a pound of Brazil-wood 
and an ounce of pearl-ash in a gallon of water, 
and while hot brush over the work until of a pro- 
per color. Dissolve two ounces of alum in a 
quart of water, and brush the solution over the 
work before it dries. 

Ko. 2. — Take a gallon of the above stain, add 
two more ounces- of pearl-ash ; use hot and brush 
often with the alum solution. 

Ko. 8. — Use a cold infusion of archil, and 
brush over with the pearl-ash solution used for 
No. 6 dark mahogany. 

Stains in Imitation of Kosewood, No. 1. — 
Boil half-a-pound of logwood in three pints of 
water till it is of a very dark red ; add half an 
ounce of salt ol tartar. Stain the work with the 
liquor while boiling hot, giving three coats ; then 
with a graining brush form streaks with No. 8 
black stain. Let the work dry, and varnish. 

j^o. 2. — Brush over with the logwood decoc 
tion used for the No. 6 black, three or four times. 
Put half a pound of iron filings or turning chips 
into two quarts of vinegar ; then with a graining 
brush, apply the iron filings solution in the form 
required, and wax or varnish. (The grainer's 
brush may be made by taking an old stub varnish 



48 ROUSSEAU S HOUSE AND 

brush and cutting out the bristles at intervals ot 
an eighth of an inch, in the shape of a comb.) 

No. 3. — Used cold. Alcohol, one gallon; cam- 
wood, two ounces ; let them stand in a warm place 
twenty-four hours ; then add extract of logwood, 
three ounces ; aquafortis, one ounce; and when it 
is dissolved it is ready for use. It makes a very 
bright ground, like the most beautiful rose-wood. 
One, two or more coats, as you desire, over the 
whole surface. Use No. 8 dark stain for waves. 
Yarnish or wax. 

Yellow Stain, No. 1. — Brush over with the 
tincture of turmeric. 

No. 2. — Warm the work and brush over with 
weak aquafortis; then hold to the fire. Yarnish 
or oil, as usual. 

Cherry Stain. — Soft water, one quart ; anot- 
ta, two ounces ; boil in a glazed pipkin until the 
anotta is dissolved ; add to this a piece of potash 
half the size of a walnut, letting it remain on the 
fire from a half to three-fourths of an hour. 



TO EENOYATE FUENITUEE. 

The most successful method is, first to saturate 
the surface with olive-oil, then apply a solution 
of gum arabic in boiling alcohol. This mode of 



BECORAllVE PAINTER. 49 

varnishing is equally brilliant, if not superior, to 
that employed by the French in their most elabo- 
rate works. But another mode may be substitut- 
ed, which has less the appearance of a hard var- 
nish, and may always be applied so as to restore 
the pristine beauty of the furniture by a little 
manual labor. Heat a gallon of water, in which 
dissolve one pound and a half of potash ; add a 
pound of virgin wax, boiling the whole for half 
an hour, then suffering it to cool, when the wax 
will float on the surface. Pat the wax into a mor- 
ter, and tritrate it with a marble pestle, adding 
soft water to it until it forms a soft paste, which, 
laid neatly on furniture, or even on paintings, 
and carefully rubbed when dry with a woolen 
rag gives a polish of great brilliancy, without the 
harshness of the dryer varnishes. — Copied from 
Enquire Witliin. 

Polish for New Furniture. — Dissolve gums 
copal and shellac, in proof alcohol, of each two 
ounces ; dragon's blood, one ounce ; to be kept in 
a warm place in an air-tight jug or bottle. This 
polish should be applied with a sponge; your 
room to be warm, say from 75 to 80 degrees tem- 
perature. The work will require from three to 
^our coats in succession, say twenty minutes apart. 
Wet your rubber in alcohol, and rub briskly 
over the surface ; after this operation, you will go 
over the surface with a piece of beef tallow ; dust 



50 ROUSSEAU'S HOUSE AND 

on superfine pumice-stone from a bag made of 
coarse woolen flannel, and rub it with felt or the 
heel of the hand. Wipe off with cotton cloth. 
Repeat the last operation, substituting tripoli or 
rotten -stone. 

Stain for Bedsteads, etc., in Imitation of 
Blalck Walnut. — Dissolve pulverized gum as- 
phaltum in spirits of turpentine, in this propor- 
tion: Two pounds of gum to one gallon of the 
liquid, the ingredients to be put in a closely cov- 
ered iron kettle, and placed upon a stove or fur- 
nace with moderate heat, stirring frequently until 
dissolved ; pour the whole into a stone jug while 
hot, reducing with turpentine to the desired con- 
sistency for use. You can produce any desired 
snade, as the greater the number of coats, the 
darker the work. By adding a small quantity of 
lamp-black, you will have a jet. Should your 
work spot, it can be obviated by adding a little 
copal or shellac varnish. 



DECORATIVE PAINTER. 51 



GEAINING. 



To become proficient in the various branclies 
of graining, requires taste of the highest artistic 
order, combined with perseverance and imitative 
skill. It will be necessary for the beginner or 
novice (to which this work is especially dedica- 
ted,) to procure panels or veneers of the different 
kinds of wood, to copy from. These can be pro- 
cured of any furniture manufacturer ; good varie- 
ties of native oak can be found at any cooper 
shop, by selecting from barrel staves ; dress them 
down smooth, and brush them over with a coat 
of raw linseed-oil, to bring out the grain. The 
next required will be a few pieces of board, paint- 
ed on both sides, to practice upon. The writer 
will be as brief as possible, giving only a few of 
the simplest rules to be observed, and easily com- 
prehended by the learner. Oak, being the most 
in demand, the pupil should practice upon in pre- 
ference to any other kind of wood ; for which we 
will give the following instructions : 

To Grain Oak in Oil. — Light. — The ground 
color for the above should be cream color, mixed 



52 ROUSSEAU'S HOUSE AND 

to dry with a gloss ; this to be made with white 
lead and brought to the desired tint by the addi- 
tion of yellow ochre or French yellow, for medi- 
um shade ; lead, Oxford ochre, and Venetian red, 
for dark oak ; yellow ochre, orange chrome, Vene- 
tian red and burnt umber, the last mentioned in 
equal quantities in bulk, mixed up thin in oil ; 
add to the white lead as before mentioned. 
Grain color, — Eaw umber and raw sienna, 
equal parts, mixed in boiled oil ; add to this in 
small quantities in equal parts, of beeswax and 
whiting, which would be better to boil the whole 
in a mass and strain when cold through two 
thicknesses of muslin. Dilute with turpentine to 
the desired consistency for use, which should not 
be too thin. Use sugar of lead as a dryer. Your 
grain color being now ready, you will proceed to 
coat your work over, using a medium-sized . var- 
nish brush for this purpose, one that has been 
worn to some extent would be preferable. Lay 
your color on even and brush out, in order not to 
have it too thick, as uniformity in this coating 
is of the greatest importance. Comb with coarse 
comb first, lengthwise, then with the fine comb, 
giving it a light waving zigzag motion. Wipe 
out the grains and lights with strips of soft mus- 
lin cloth, by holding it over the thumb nail, tak- 
ing a clean spot of cloth for each wipe ; the blank 
end of the steel comb can be used to advantage 



DECORATIVE PAINTER. 53 

hy placing the muslin over it in the same manner 
as over the thumb. It would not be advisable to 
practice too much from one piece of oak, as you 
will be apt to acquire a stiff and formal style. 
This should be done with a free and careless mo- 
tion of the hand, yet having an eye to the general 
character of the wood you are to imitate. Ilav- 
ing your work combed and figured, it is ready for 
the glazing. As soon as the grain color has be- 
come sufficiently dry and hard, glaze with asphal- 
tum dissolved in turpentine ; add a small quantity 
of boiled oil to prevent its drying too quick. Wipe 
out large patches of lights; use sash-tool for put- 
ting in dark knots, etc. Finish with three coats 
of varnish. 

To Grain Mahogany in Distemper.— Ground 
color composed of either of the following ingred- 
ients : Eed lead, Venetian red and orange chrome ; 
or, chrome yellow, and orange red lead, about one- 
third ol red lead or sufficient to tint to a bright 
orange. Grain color, burnt sienna, mixed in ale 
or vinegar. First dampen your work with the 
fluid, as it wtll prevent the color from crawling 
or pitting. Apply grain color with a soft brush 
or sponge ; blend crosswise, wipe out the light 
spots with a damp cloth or chamois skin ; blend 
till soft, then give the whole a thin coat of quick 
drying varnish. Glaze when dry by adding a 
small quantity of Vandyke brown or asphaltum 



54 ROUSSEAU S HOUSE AND 

to your grain color, to make it a shade darker, 
which should be quite thin. Eub it over the 
whole surface and blend it lightly crosswise. 
Work in the check grain with the hog's hair over 
grain er 

To Grain Maple in Distemper. — Ground, 
cream color, made with white lead and yellow 
ochre. Grain color, raw sienna and raw umber, 
equal parts ; mix the same as for mahogany. Ap- 
ply with large sash-tool or sponge. Wipe out the 
lights which make the curl, with a damp chamois 
skin or wash-leather ; blend lengthwise of the 
curl. Yarnish and glaze when dry, using asphal- 
tum and victoria lake in small quantities. Wipe 
out patches of light with the sponge and blend 
crosswise, give the work a second coat of var- 
nish ; when dry, top grain with glaze color. 

To Grain Black Walnut in Distemper. — 
Ground, drab color, composed of white lead, yel- 
low ochre, Venetian red, and black. Grain color, 
Vandyke brown and burnt sienna ; the grain same 
as for mahogany, with the exception of the blaze, 
which is more regular and runs gradually from 
the bottom to the top. Glaze, and finish the same 
as for mahogany. 



DECORATIVE PAINTER. 55 



PAPER AND WOOD HANGINa. 



The first consideration in this important branch 
is to have the walls in condition to receive the pa- 
per. Old walls, that have had repeated coats ol 
coloring and whitewash, should have a thorough 
scraping. When this part of the operation has 
been done, give the walls and ceilings a dusting ; 
work out all particles of dust and plaster from 
over door and window caps, rails, &c. ; your walls 
are now in a state to receive the size, which is 
prepared as follows : 

Glue Size. — This is simply glue and w^ater, 
the ordinary black, or cabinet maker's glue, is the 
best adapted for walls, &c. When required for 
sizing wall paper preparatory to varnishing, the 
white is required. Before using, the glue should 
be broken into small pieces and soaked in cold 
water for some time to soften it, then boiled by a 
slow heat until dissolved, and again allowed to 
congeal by cooling. When desired for use, thin 
with hot water to the desired consistency. One 
thorough coating will be sufiicient ; apply with a 



56 ROUSSEAU'S HOUSE AND 

whitewash or kalsomine brush. When this is dry, 
fill all inequalities, such as nail holes, cracks, 
etc., with plaster of paris mixed in glue water ; 
this will dry quickly and does not contract or 
stain the paper. The tools required for paper 
hanging are long trimming shears, wet shears, 
straight edge, paste board, plumb-bob, rule, paste 
and paper brush, paste-pail, size kettle and step- 
ladder. 

To Make Paste. — Paste for all ordinary pur- 
poses can be made as follows : (The quantity 
herein mentioned will be sufficient for a day's 
work.) Sift and heat up four pounds of the best 
white wheat flour in cold water, until all the lumps 
have disappeared, and it is stiff like pudding bat- 
ter ; add to this two ounces of alum, then pour 
boiling water on the mass, stirring it briskly at 
the same time, until it begins to swell and lose 
the light color of the flour, when it is cooked. 
Stir it frequently, to enable the steam and gas to 
escape ; when cool it is ready for use. It is not a 
good plan to thin paste with cold water ; if it should 
become too thick, use boiling water and stir it well 
in. In this way you are not so liable to contend 
with blisters and wrinkles in the paper. 

Trimming Paper. — In trimming wall paper 
your work should be to the right as you unroll. 
I have found it a very good plan to trim over a 
table or paper board ; the latter is the best. Get 



DECORATIVE PAINTER 57 

this in the position you will require it for pasting 
your paper. Sit facing the board, unroll the bolt 
of paper a few feet, and let it drop on the floor on 
the opposite side of your board, retaining the top 
of the paper in the left hand near the centre ; tlien 
witli the long shears trim off the blank margin 
close to the print or figure. Use caution and not 
deviate from the line, or it will show badly when 
on the wall. Trim the distance of three or four 
feet, and commence to roll as fast as you trim. 
Thick paper should be trimmed within one-eighth 
of an inch of the margin on the opposite side. Be- 
fore cutting your paper preparatory to hanging, 
ascertain the number of breadths required, and 
proceed to cut them in the following manner : — 
First determine on some " land-mark," or figure 
to cut from, in order to have the paper match, 
and avoid waste ; it would be better, however, by 
first getting the extreme hight of the wall from base 
to ceiling, and determine length from this. Cut 
square across your paper, having the top or head 
to your left hand ; make this fast to the head 
of the board by placing a weight upon it, 
unroll the required length and cut off, placing a 
weight upon this also to prevent its coiling up; 
now take the next strip, and so on, cutting the 
top at the same mark, leaving the remnants for 
over the doors and windows. It would not be 
advisable to get too many pieces on the board at 



68 RorssEAu's house and 

one time, especially for the beginner, for reasons 
that will suggest themselves. Now turn the pa- 
per bottom side up, which will bring the work 
side to you. Brush all wrinkles down with the 
hand, and have every piece lay parallel with the 
board, the board to be the same width as the pa- 
per. Place your paste pail to your right and ap- 
ply the paste with a flat brush ; a medium-sized 
whitewash brush is the most in use. 

Commence at the foot of the paper, spreading 
from right to left and lay it off crosswise, keeping 
the points of the fingers of the left hand on the 
paper at the same time, to hold it from sliding on 
the board. Double the paper at the bottom enough 
to clear it from the floor when taken from the 
board ; you will now take the upper corner on the 
work side, (^. e., next to you,) between the thumb 
and finger of the right hand, and the opposite cor- 
ner with the left. Eaise it up at arm's length from 
the board and hang. Commence at a bead or in 
a corner, where it will not show in finishing up. 
In following these rules you will hang to the left. 
Now get your work edge on the line, and press 
the top of your paper against the wall and draw 
the flat of the hand across the top to hold it. 
Stroke the hand next down the paper and brush 
out each way, repeating the operation until the 
strip is on. Work the paper close to the base, 
and draw the point of the shears across to mark it ; 



DECORATIVE PAINTER. 59 

then draw it off a few inches, cut to the line and 
place it back. Yarious implements are used for 
putting on paper ; for satin papers, many prefer 
the flat hand ; for forty-inch tints and stamped 
gold, a soft towel, or wooden roller covered with 
cloth, is the best ; for ordinarv cheap papers, a 
brush-broom ; wood hangings, a wooden scraper. 
Flock papers, forty -inch tints and wood hangings 
are put on without lapping ; they require to be 
cut with a sharp knife, using the straight edge as 
a guide, and butted together. Gilt mouldings are 
invariably used for border on these hangings. 
In paneling there is no estabhshed rule ; it depends 
on the taste of the workman in a measure, he be- 
ing the one supposed to know how to produce 
certain effects, and is expected to display his 
knowledge and judgment in such matters, by 
taking into consideration the location and position 
of doors, windows, mantle, stationary furniture, 
etc. The styles and vails to be governed by the 
height of room ; to a ten feet room, about six 
inch vails. The use and application of wood 
hangings are quite new, and to some unheard of; 
in order to enlighten that class of readers, we sub- 
join the following extract from Moore s Rural New 
Yorker : 

Wood Hangings, how made, how put on 
AND HOW EXPENSIVE. — Yarious lengths of the 
body of ^ tree, or intermodesof the limbs, arc put 



60 ROUSSEAU'S HOUSE AND 

into a tarning machine and turned until the solid 
body of fibers is spread out to the thinness of a 
shaving, and lies like an unrolled piece of wall- 
paper, in liea of which it is used; or, imagine, 
if you can, the body of a tree composed of a roll 
of gold foil, three feet long and a foot in diam- 
eter, rolled so compactly as to appear to be solid 
metal , but, by means of a machine, which moves 
a long, sharp or cleaving edge, round and round it, 
separating the over from the underlying layer, 
you will understand how a length of round tim- 
ber is turned inside out, or clear out of itself. 

Different varieties of wood give different pat- 
terns or grain to the hangings. The woods most 
largely used, are black walnut, maple and ash. 
Black walnut and ash hang well together, the con- 
trast between the two permitting the darkest to 
serve as bordering, or defining designs if desired, 
about mantels or panel-like places. For halls and 
dining-rooms, these hangmgs seem especially fitted, 
and could be put on to simulate a cathedral en- 
trance or interior, by cutting the walnut to repre- 
sent pillars and connecting at the top by arches. 
This " wooden paper " is applied to the wall in the 
same manner as ordinary paper hangings, with 
flour paste ; the walls should be smooth and free 
from white-wash ; after it is applied and dry, a 
coat of oil is put on, which develops the marvel- 
pus designs inwoven by nature. A coat of var- 



DECORATIVE PAINTER. 61 

nisli completes the illusion of walls beautifully 
veneered. When soiled you can wash the sur- 
face. Whether there is any wear out to these 
hangings we can not say ; we have been informed 
that they are very durable, and "considering all 
things," as cheap as paper hangings. The cost is 
three cents the square foot ; those of satin-wood 
come a little higher, and mahogany also, which is 
really no handsomer than black walnut. The 
rolls are in various widths from twenty to forty 
inches. 



TO MAKE WHITE WAX 

The white wax is nothing more than the yellow 
after it has passed through bleaching processes. 
This is done by allowing a thin stream of melted 
wax to flow into cold water, by means of which it 
gains a resemblance to thin wavy ribbons, which, 
being exposed to the joint action of water, air and 
sunlight, gradually loses its yellow color and 
being remelted assumes the appearance of the 
bleached wax. 



62 ROUSSEAU'S HOUSE AND 



TO PAINT AN OLD HOUSE. 



When the paint has disappeared to such an ex- 
tent that the surface of the siding is rough and 
full of minute sun-cracks, the dry and porous 
will absorb three times as much oil as will be re- 
quired to cover the same extent of surface, were 
the siding new and just planed ; indeed the ab- 
sorbent capacity' of such weather-beaten lumber 
is so great, that the dry grain of the timber will 
absorb a large proportion of the oil and leave the 
paint on the surface, where it will shortly dry into 
a powder that the storms will remove in a com- 
paratively -brief period. The grand object in 
covering the surface of the siding with paint, is 
to protect the grain of the wood from getting 
soaked with water, as the grain expands every 
time water is applied to it, and contracts, forming 
cracks on the surface, whenever it has an oppor- 
tunity to become dry. These are the conditions 
and difficulties to be met; the object will be to 
cover the surface of the old boards with a durable 
paint, at the cheapest possible expense. If good 



DECORAllVE PAINTER. 63 

oil paint be applied, uDtil the small cracks are all 
filled, and tlie porous grain of tlie dry wood will 
absorb no more oil, a coat of paint will be formed 
that will wear almost an age. But the large quan- 
tity required would cost much more than most 
people care to expend in painting an old house, 
when some cheaper material will subserve the 
same satisfactory purpose. 

The idea is to fill the porous and cracked surface 
with a cheap m.aterial that will prevent the oil 
from separating from the paint and entering the 
wood. It is not essential to the durability of the 
siding, that the wood beneath the surface be sat- 
urated with oil, so long as the surface is properly 
protected with a thin coating impervious to water. 
Make a gallon of good paste, of wheaten or rye 
flour, then have ready a pound of cheap rice, and 
a half pound of cheap glue, boiled to the consisten- 
cy of very thin molasses, that may be poured 
out quickly, and stir the three ingredients together 
while they are hot, and apply it with a brush, so 
as to fill up all the sun-cracks, and cover the 
rough surface of the siding, thus forming a smooth 
foundation for the oil paint. A larger quantity 
may be made with the same proportion of mate- 
rials as we have indicated. The siding should be 
scraped clean and smooth ; in case moss has col- 
lected on the surface, then sizing sufficient to fill 
the cracks should be applied with care, while 



64 ROLTSSEAU'S HOUSE AND 

warm, bj some person who will lay it on smoothly. 
In case it be daubed on too thickly, a heavy scale 
will be liable to peel off. Cover the coat of sizing 
immediately with good oil paint. A few gallons 
of such sizing, costing only a few dimes, will save 
more than fifty dollars in painting a building, and 
will effect a satisfactory purpose. 



FROSTIKG. 

This is glass blown very thin and crumbled fine. 
It can be procured at any glass factory and used 
in connection with sand or smalts. 

Smalts. — These can be procured at any drug 
or paint store of any shade or color, although the 
blues are most in use for sign work. Blue is 
manufactured from ground glass and colored with 
Cobalt, by means of heat and will retain its lus- 
tre for ages. 

Flock. — This is simply the lint or fine shearing 
of colored woolen cloths, and is used to a great 
extent in the manufacture of wall papers and 
borders. For signs, only in-doors. 

Sanding. — This is dusted over exterior work, 
and should be applied to the third or fourth coat 
of paint, the paint to be mixed stiff in drying oil. 
Dust on the sand while the paint is wet. A small 



DECORATIVE PAINTER. 65 

bellows can be arranged with an extra cliamber 
for tbe sand, make this fast to the nose of the 
bellows in such a manner that the wind will pass 
through it, have the top perforated the same as a 
watering pot; this can be used under projections, 
etc., to a good advantage. The best sand for this 
purpose can be found on the shores of our inland 
lakes, and is kept for sale in all prmcipal towns 
and villages. 

Glazing.— Prime sashes before glazing. The 
convex side of the glass to be out, fill the rabbot 
with soft putty, and press the glass gently down 
until it is firmly imbedded, press near the edges and 
not in the centre of the glass, or it will be liable 
to crack ; use four tins, drive them in the sides 
one-fourth of the distance from the end, glaze on 
the outside, and cut off all surplus putty from 
the inside which may have oozed out from the 
bedding ; great caution should be used and not 
have the putty project over the line of the mould- 
ing, as it will show badly from the inside. It 
should be brought into a parallel line as nearly as 
possible ; wash the glass with cold water, using a 
solt water brush; a large sash-tool will answer. 

Kalsomining.— This method of coloring walls, 
ceilings, &c., is simple, yet far superior to the old 
lime and white-wash method ; this is done by 
making a strong glue water, add to this while hot, 
whiting, stir it in thoroughly, use any of the dry 



66 ROUSSEAU'S HOUSE AND 

colors for tinting, strain the whole through a 
coarse cloth; this should be kept warm while 
using, when cold it will become like jell j; it can 
be kept for use any length of time. The above 
is applied with a broad flat brush designed for 
that purpose. The dry colors used for tinting, 
work better when mashed up fine in glue water. 
For blues use the common liquid blueing as used 
for washing purposes. 



MUCILAGE PASTE. 

An interesting article was published some jears 
ago, informing us how to make a very cheap 
mucilage from common starcL It is roasted while 
perfectly dry, somewhat like coifee, but not 
scorched or burned. This converts it into " Brit- 
ish," which is dissolved in water and is used in im- 
mense quantities in calico printing works for glaz- 
ing and stiffening the finer goods. Previous to this 
discovery, gums arable and Senegal were used for 
the same purpose, and the demand was much 
greater than the supply. The use of this article 
lessened the price of calicos and was a great ben- 
efit to mankind. It was first found out by a 
starch factory being burned in England. The 
scorched gum from the starch having stuck the 



DECORATIVE PAINTER. 67 

firemen's clothing together fast. For many years 
it was kept a great secret, and is still not general- 
ly known. This is the basis of mucilage sold in 
stationer's shops. 



LIQUID GLUE. 

Dissolve common glue in vinegar or water 
slightly acidulated with nitric acid. This is the 
the same as Spaulding's glue, and ought to be 
kept by every household, as any article broken 
can be repaired with it, and it is always ready for 
use. Mechanics think that dark glue is more ad 
hesive than the finer sorts, which are used by 
milliners. 



TO MAKE A SIMPLE WHITE PAINT. 

Skim milk, two quarts ; fresh slack lime, eight 
ounces ; oil, six ounces ; white burgundy pitch, two 
ounces ; Spanish white, three pounds. The lime 
to be slacked in water, exposed to the air, mixed 
in about one- fourth of the milk, the oil in which 
the pitch is to be previously dissolved, to be added 
a little at a time. Then the rest of the milk, and 



68 Rousseau's house and 

afterward the Spanish white. This quantity will 
cover twenty-seven yards two coats, and the ex- 
pense is but a trifle. 

Eancid oil may be restored to its original purity 
and sweetness, by being heated with a certain 
quantity of calcined magnesia. 



TO MAKE TRACma PAPER 

The Engineering and Mi7iing Journal says that 
artists, architects, land surveyors, and all who 
have occasion to make use of tracing paper in 
their professional duties, will be glad to know 
that any paper capable of the transfer of a draw- 
ing in ordinary ink, pencil or water-colors, and 
that even a stont drawing-paper, can be made as 
transparent as the thin yellowish paper at present 
used for tracing purposes. The liquid used is 
benzine. If the paper is dampened with pure 
and fresh benzine, it at once assumes transparen- 
cy, and permits of tracings being made, and of 
ink or water-colors being used on. its surface 
without any "running." The paper resumes its 
opacity as the benzine evaporates, and if the 
drawing is not then completed, the requisite por- 
tion of the paper must be again dampened with 
the benzine. The transparent calico on which 



DECORATIVE PAINTER. 69 

indestructible tracings can be made, was a most 
valuable invention ; and this new discovery of the 
properties of benzine will prove of further service 
to many branches of the art profession, in allow- 
ing the use of stiff paper where formerly only a 
slight tissue could be used. 



CHEAP YAENISH. 

Put a quantity of gum shellac in a bottle con 
taining alcohol enough to cover it ; cork tightly, 
and set near the stove, or in the sunshine, as the 
heat aids solution. Shake occasionally. If not 
dissolved in three days, add more alcohol. This 
varnish can be made for two dollars and fifty 
cents per gallon, and is as good as that costing 
from five to seven dollars. 



TO WHITEN BEES- WAX. 

Take the cleanest bees-wax you can obtain, 
melt it in hot water, skim it out in a cup or basin 
previously oiled ; when quite cold cut the wax in 
thin slices ; expose these to the action of the sun 
and air upon white dishes, sprinkling it, unless 



70 Rousseau's house and 

there is rain, once or twice each day with clean 
water. At the end of a week melt the wax 
again, and proceed as before. In hot weather, 
the wax may be floated on water, in the middle 
of the day. 



TO BRONZE PORCELAIN STONE WARE. 

A very industrious technologist gives a simple 
bronzing process, applicable to porcelain, stone- 
ware and composition, picture and looking-glass 
frames. The articles are first done over with a 
thin solution of water-glass, by the aid of a soft 
camel's-hair brush ; bronze powder is then dusted 
on, and any excess not adherent, is knocked ofi 
by a few gentle taps ; the article is next heated, 
to dry the silicate, and the bronze becomes firmly 
attached. Probably in the case of porcelain, stone 
ware, etc., some chemical union of the silicate 
will take place, but in other cases the water-glass 
will only tend to make the bronze powder adhere 
to the surface. After the heating, the bronze may 
be polished or burnished with agate tools. — 
Moore s Rural Keiu Yorker. 



DECORATIVE PAINTEK. 71 



SIENNA MARBLE. 



Ground light buff; for dark vein color, lamp- 
black and India-red. To produce any of the 
neutral tints add white to the above, make a few 
tints with prussian blue, Indian red and white, e;ich 
of these should vary a little in tone. Dip a large 
feather in turpentine then into the dark vein color, 
with this form a leading vein across your panel, 
giving it an uneven, ragged, and broken appear- 
ance; this should be done while your ground is 
wet, now use your feather and the neutral tints, 
putting in the smaller veins, breaking them in ir- 
regular pieces, springing from the leading vein, 
badger until soft and mellow ; when dry, rub over 
slightly with linseed oil, applied with a fine piece 
of woolen or silk. Now dip a small sponge in 
thin white and dapple it in an irregular manner, 
in and about the veins. Soften and blend with 
the badger at the same time. Then put in a 
touch of solid white, promiscuously amongst the 
veins. For glazing, use Oxford ochre and raw 
sienna, with an occasional bright tint, by adding 



72 Rousseau's house and 

a grain of crimson lake ; glaze over the work in 
patches, the darkest shades to be in conne ction 
with the leading vein. Now introduce a few 
sharp touches of black, on and near the leading 
vein; this, when properly done, will give the 
veins depth and the appearance of being sunken. 



OKIENTAL PAINTING. 

This beautiful work is very simple ; its charac- 
teristic effect being produced by using transparent 
colors (or lakes) on glass, and putting tinsel be- 
hind. The materials used are oil colors, in tubes, 
and several sizes of artist's brushes. These colors 
are mixed with demar varnish. Any print, or 
lithograph of flowers, fruits or birds is suitable. 
Wash your glass with spirits of turpentine; when 
dry, place it over your design, and with a fine 
brush or steel pen, trace carefully all the outlines 
and such other lines as will add to the effect. 
Any false lines may be removed with turpentine, 
or, after they are dry, alcohol. For outlining, 
use lamp-black mixed with demar varnish and 
thinned with turpentine, till it will flow from a pen. 
When your outline is dry, place it over white 
paper, and proceed to color the design with proper 
colors, mixed very thin with varnish ; shade with 



DECORATIVE PAINTER. 73 

extra coats of the same color, giving each one 
ample time to dry. It will require some practice 
to mix the colors so as to produce the proper hues. 
The only colors really necessary, are scarlet-lake, 
yellow-lake, prussian blue and flake-white. White 
should seldom be used, and never be mixed with 
the other colors. The least possible blue added 
to scarlet will produce crimson; red and blue 
make purple ; red and yellow, orange ; blue and 
yellow, green ; you can vary the proportions so as 
to produce any color you desire. It only remains 
after this to cover the rest of the glass with the 
same black used for outline, only not so thin. If 
you can procure tinsel of the color of your pic- 
ture, cut it in the shapes required to fit the design, 
and fasten it with just enough varnish to hold it 
in its place. The more crushed and broken it is, 
the more the picture will sparkle. Cut a piece of 
cloth a trifle larger than the glass, and paste on 
the edges to hold the tinsel in place, and frame as 
soon as convenient Wash your brushes with 
spirits of turpentine and soap and water. 



WATER PKOOF CLOTH. 

Equal parts of yellow ochre and lamp-black ; 
mix with it an equal quantity, in bulk, of strong 
boiling soap-suds ; lay on as thick as the brush 
will spread ; in three days finish with black paint 



74 ROUSSEAU S HOUSE AND 

Eepeated experiments prove tliat paints applied 
between November and March, will last twice as 
long as that applied in warm weather. The rea- 
son is, that in cold weather the component parts 
of the paint form a hard substance on the surface, 
as hard almost as glass, but in warm weather the 
oil penetrates the boards, and the paint soon wears 
off. 



GRECIAK OIL PAINTINa 

A very beautiful effect may be produced by 
taking any lithograph print, rubbing it over with 
a solution of turpentine and balsam copabia until 
the paper becomes transparent ; then placing the 
print between folds of soft paper, to absorb the 
surplus balsam ; lay the face to a glass of conve- 
nient size and set it before a window ; paint with 
transparent colors, ground in drying oil, in imita- 
tion of the natural colors, as near as possible; 
when dry back up the print with paper. These 
colors can be put on in a careless manner and 
when viewed from the front it will have the ap- 
pearance of a ricli oil painting on canvass. 



DECORATIVE PAINTER. 75 

TO IMITATE GRANITE 

Prepare the ground with a light gray, and spat- 
ter first black and then white over the work by 
striking against a heavy stick, holding it up close 
to the work ; a short stubby brush should be 
used ; mix the paint used for spattering in turpen- 
tine. 



RED OR ABERDEEN GRANITE. 

Prepare the ground with light salmon-color, 
spatter with black, red and white. 



FROSTING. 

For Windows, &c. — White and sugar of 
lead in equal parts ; dilute with turpentine. This 
should be stiff, using only a small quantity ; rub 
on well. It would be advisable to work all sur- 
plus frosting out of the brush before applying it 
to the glass. Then take a double fold of cotton- 
flannel and stretch it over a block that has a level 
face, and tamper it over the glass. When this is 
done, take a straight-edge, one inch wide, and 
place it on the lower left and upper right hand 



76 EOUSSEAU'S HOUSE AND 

corners of the window pane, dividing the distance 
equally; then take a sharp pointed stick and 
draw it gently down on each side of the straight- 
edge ; when done, reverse, placing your guide on 
the upper left and lower right hand corners. 
Mark same as before. This will form a dia- 
mond in the centre. When dry, this frosting 
will be nearly as hard as the glass itself 



COMPOUND COLOES. 

The colors arising from mixture are innumera- 
ble. My object it to give the simplest and most 
comprenensive method of preparing them. These, 
when the unity of two colors, are termed " the 
virgin tints." The greatest purity and richness is 
attained in using the least number of colors. In 
mixing tints, I will give the body color first, or 
the one which predominates ; and next, the one 
that has the strongest relation to it, and so on. 
It is almost an impossibility to give the propor- 
tions a minute exactness, as this will be owing to 
the strength of the colors used, and taste, judg- 
ment, etc., of the operator. 



DECOR A.TIVE PAINTER. 77 



TABLE OF TINTS. 



Brick Color. — Yellow ochre, two parts ; red lead 
one part ; wliite. 

Bronze Oreen. — Permanent green, lamp black, 
chrome yellow, raw umber. 

Chestnut — Bed four parts, black three parts, 
chrome yellow one part. 

Chocolate. — Lamp black two parts, Spanisti 
brown two parts, yellow one part. 

Claret. — Bed four parts, umber two parts, lamp 
black one part. 

Cream. — White four parts, chrome yellow one 
part, raw umber. 

Changeable. — Bed two parts, chrome green one 
part, tint with white. 

Carnation. — Madder lake, three parts ; one part 
white. 

Lead Color. — Six parts white, one part lamp- 
black. 

Dove Color. — White, four parts ; vermillion, two 
parts ; blue, one part ; chrome yellow, one part. 

Flesh Color. — Two parts lake, one part white 
lead, and a little vermillion. 



78 ROUSSEAU'S HOUSE AND 

Fawn Color. — Two parts white lead, one part 
stone ochre, and vermillion to suit. 

Gold Color. — Two parts stone ochre, add red 
until you get the desired shade. 

Grass Green. — Chrome yellow ; add prussian 
blue to get the desired shade. 

Jacq^iiel. — Two parts chrome yellow, two parts 
rose pink, tone with white ; this is only used in 
distemper. (See Striping.) 

Light Grey. — Six parts white lead, and prussian 
blue to suit. 

Light Timber Color. — Two parts yellow ochre, 
one part white lead ; tone with umber. 

Light Willow Green. — White lead, brought to 
the desired shade with verdigris. 

Lime Stone Color. — Four parts white lead, three 
parts yellow ochre, one part black, tone with red. 

Lemon Color. — White lead, tone with light 
chrome yellow to get the desired shade. 

Lilac. — White lead four parts, Venetian red one 
part, tone with prussian blue. 

Pea.rl. — Ten parts white lead, one part lamp 
black, tinge with prussian blue. 

Peach Blossom. — White lead eight parts, red 
one part, blue and yellow combined one part. 

Pea Green. — White lead, add chrome green to 
get the tone desired. 

Purple. — Yiolet tinctured with blue and white 
in equal quantities. 



DECORATIVE PAINTER. 79 

OaJcivood Color. — White lead eight parts, one 
part yellow ochre, tone with raw umber. 

Orange. — Chrome yellow, tinge with Venetian 
red. 

Olive. — Chrome yellow eight parts, Prussian 
blue one part, black and white combined one 
part. 

Portland Stone Color. — Eaw umber two parts, 
yellow ochre two parts, white lead one part. 

Rose Color. — White lead two parts, add madder 
lake for desired shade. 

Sand-stone Color. — White lead six parts, yellow 
ochre three parts, black one part, tinge with red. 

Snuff Color. — Yellow ochre lour parts, Yandyke 
brown to suit 

Silver Gray. — White lead nine parts, indigo an^ 
lamp black combined, one part 

Straw Color. — White lead and chrome yellow, 
add the latter to get the desired shade. 

Salmon Color. — White lead, chrome yellow, 
raw umber, Venetian red. The white lead for 
base, then add the other ingredients in small quan- 
tities until the required shade is produced, 

Violet Color. — Vermillion four parts, prussian 
blue and white lead combined one part 

Drab. — White lead six parts, raw umber one 
part ; or white eight parts, yellow ochre one part, 
Venetian red and lamp black combined one part 



80 



Plum Color. — White lead four parts, prussian 
blue one part, Yenetian red one part. 

Dark Poke Berry Color. — Indian red, three 
parts, Prussian blue one part; or, rose pink three 
parts, lamp black one part. 

Invisible Green. — Two parts lamp black, one 
part chrome green. 

Brown. — Venetian red, brought to any shade 
with lamp black. 

These tints can be brought to any degree of 
lightness with white and yellow. 



BEONZING. 

This should be done on the color varnish ; the 
surface to be thoroughly rubbed down with pul- 
verized pumice stone and water, in order to kill 
the gloss. Give the parts which are to be bronzed 
a washing in a thin solution of ordinary starch 
and water, letting it dry and remain until you have 
gone through with the operation of bronzing. 



TO PREPARE SIZING FOR BRONZE. 

Grind a small quantity of chrome yellow in 
wearing varnish ; apply with a camel's hair pencil 



DECORATIVE PAIlsTER. 81 

same as in ordinary striping. When the size be- 
comes tacky, proceed to put on your bronze pow- 
der in the following manner : Take a small ball 
of raw cotton and enclose it in a piece of cotton 
or silk velvet by bringing the corners up together 
and wind with twine ; this will form a handle ; it 
requires to be about the size of a walnut. Dip 
this in the bronze powder and rub it liglitly over 
the work. When dry, wash with a sponge and 
cold water, to remove all the starch and superflu- 
ous bronze. Should any bronze adhere to the 
surface, where it is not desired, it can be rubbed 
out with superfine pumice or rotten stone and 
water, at the same time rubbing it lightly over 
the stripe to remove all loose particles that the 
varnish brush would be apt to work out ; wash 
off, etc. 



TO CLEAN STRIPINa PENCILS. 

Wash out with turpentine, draw them repeat- 
edly through a lump of beef tallow and place 
them on a window glass, rubbing them out with 
the points of your fingers in a straight position. 
When wanted wash out with turpentine. 



82 ROUSSEAU'S HOUSE AND 

SIGN WRITING. 

It has ever proved a difficult task to the various 
writers on this subject to convey any set of com- 
prehensive rules as a guide, particularly to per- 
sons who have no natural taste for this branch of 
art It is supposed by some that this is a mere 
mechanical art, and that any person with a com- 
mon stock of perseverance can acquire it ; this is 
not so, as not one sign writer in fifty under tlie 
old regime of designing, has become a master. 
Not only does it require a display of artistic skill, 
but calls into requisition the mathematical and 
geometrical sciences. The rules for applying the 
various material, etc., are simple in their details, 
and require but a limited practice. The great 
(iisideratum has been to acquire uniformity and 
gracefulness in outline, etc. ; these difficulties have 
been overcome since the introduction of Rous- 
seau's perforated patterns for letters, which now 
brings sign writing within the reach of all painters 
and amateurs. These letters embrace all the new- 
est designs, and vary in size from three to thirty 
inches. All patterns of a smaller denomination 
are cut from paste-board and calculated for tracing. 
The term perforated simplv implies piercing 
through the outline of the letter or design on 
paper, these are placed on the face of the sign, 



DECORATIVE FAINTER. 83 

and the impression taken in the following manner. 
If the ground work is white, fill a piece of flannel, 
or other loose cloth, with finely powdered rose- 
pink or charcoal, and pounce on the outlines with 
force sufficient to drive the powder through the 
holes in the pattern; raise the paper carefully and 
you will have the dotted lines of the design on 
the sign ; if dark ground, use whiting in vour 
pounce bag; if the powders are dry and fine, the 
impression can be taken by rubbing the bag over 
the design. The work is now ready ; pencil and 
fill. 

Illustrations showing design^ in miniature of 
the various styles we are manufacturing, giving 
the number, size, price per set, etc., that a person 
in ordering will have no mistake occur, may be 
found on page 92, et. seq^. 



SIGNS IN GOLD AND SMALTS. 

The siarn should receive at least four coats of 
paint, and have a smooth and level surface. Signs, 
as Avell as other painting, should be flatted for 
inside, and glossed for outside. The creeping of 
your size or colors can be prevented by rubbing 
it over with the hand, or warm weak soap-suds 
and sponge ; wipe dry with chamois skin ; when 



84 KOUSSEAU'S HOUSE AND 

the whole face of your board will receive a weak 
solution of starch, (or what would be as well,) cut 
a large potatoe in slices and rub -them over it 
slightly, to prevent the gold adhering to parts 
where it is not required. The spaces above and 
below the letters should occupy about one-eighth 
of the width of the board, and the space between 
any two lines of letters may be a little narrower ; 
for which use a chalk-line and dividers. The 
relative position of the letters on the board should 
be such, that there ought to be about the same 
amount of space between each two letters; thus, 
an A coming after an L the two should be closer 
than an I and an H ; punctuation should also be 
observed. 

Oil Gold Size. — The best is prepared in the 
following manner: Procure some old or fat lin- 
seed oil, the older it is the better ; mix a little 
Oxford ochre with it, and a small quantity of 
sugar of lead ; thin it with boiled oil and strain 
through a piece of fine linen. The size should 
be limpid, and thin enough to flow freely and 
evenly, and well rubbed out. Great care must be 
taken not to gild before the size is dry, and not 
to leave it until it is too dry, as in the first case 
the gold will crack, while in the second, it will 
stick in some places and rub off in others, making 
a bad job. The temperature or condition can be 
determined by applying the knuckles to the size. 



DECORATIVE PAINTER. 86 

GILDING. 

This does not require ii great amount of skill ; 
still, there is a "know how" to handle gold leaf. 
There are various ways, but the simplest method 
is to take your book and lay it down on some level 
surface, and by the use of the straight edge and 
sharp paper knife cut the back entirely off*. Then 
take the first paper off that is used between the 
leaves of gold. Lay it on a level board or table, 
and rub it over lightly with a hard lump of beef 
tallow; take the paper and rub the superfluous 
tallow off by rubbing on the ball of the hand. 
Place it back on the leaf with the tallowed side 
down, rubbing the points of your fingers evenly 
over the paper, being careful and touch every 
part. Raise the paper by inserting the point of a 
knife under it and you will find the leaf nicely 
adhered to the tallow. This can be cut in any 
desired shape required, when it can be laid on 
your sizing, rubbing it on with the points of your 
fingers. Raise the paper ofi' with the point of a 
knife, as before mentioned, and the leaf will re- 
main; rub it over with a ball of raw cotton, when 
your gilding is complete. Gold leaf can be shaded 
or glazed with any of the following transparent 
colors : For yellow, sienna earth, Indian yellow, 
Dutch pink and yellow lake. Reds, madder car- 



86 ROUSSEAU S HOUSE AND 

mine, madder lakes, lac lake, dragon's blood and 
rose pink. Blue, indigo. Orange, orange lead, 
golden salpher of antimony, burnt sienna, mad- 
der orange. Greens, prussian green, verdigris. 
Purples, burnt carmine and madder lake. Eusset, 
prussiate of copper. Browns, burnt umber, 
mummy and asphaltum. Blacks, ivory black, 
bone black, Frankfort black and Spanish. In 
using the above transparents, make use of sugar 
of lead as a dryer. 



SMALTING. 

Temper white lead with good clear drying oil, 
as stiff as you can well use it with a pencil or 
brush, add to this a sufficient quantity of prussian 
blue, finely ground, {i. e.,) if using zafifre, with this 
cover the surface of your sign, covering it com- 
pletely and equally. Then strew your smalt 
thickly over this ground while it is moist, and 
with a piece of paste-board with a straight edge, 
stroke it over, that it may lie evenly and thickly 
alike on all parts, and with a piece of folded cloth 
in the form of a pad, dab it down close, that it 
may take well upon the ground laid under it. 
When the ground has become sufficiently dry, 
wipe off all loose smalt with a soft brush. 



DECORATIVE PAINTER. 87 

IMITATION GOLD. 

This is done by painting tlie ground of a gold 
orange color. Pounce on the outlines for letters, 
and cut around them with the ground for smalt, 
and apply same as before mentioned. This is 
quickly done and looks well. Any light grounds 
can be painted out in this way, using a darker 
shade for cutting in. 



SIGNS IN FLOCK. 

These are designed for interiors only, to be 
laid in glue size, used the same as smalt. It 
should be thoroughly dry and sifted on ; a small 
quantity of fine white glass frosting has a good 
effect with smalt or flock. 



GILDING ON GLASS. 

Cut a tliin piece of paper to the size of your 
glass, on this mark out your letters, using paste- 
board patterns and a black lead pencil, prick 
through the outlines of the letters with a needle ; 
now 23lace your design upon the glass right side 



88 ROUSSEAU S HOUSE AND 

up, and dust it with the pounce-bag; take the 
paper carefully off, and the design will appear in 
white dots upon the glass. This is to guide you 
in laying on the gold on the opposite side. Make 
the size of clean water and isinglass, the solution 
to be very thin. This requires boiling over a 
slow fire until dissolved, strain ; when cold it is 
ready for use. Flow it on with a camel's-hair 
brush, giving it a little margin over what the line 
of letters will naturally require ; let it drain off a 
little, and lay on the leaf from the book, by cut- 
ting the leaves the size you want with a pair of 
scissors. When perfectly dry rub the gold over 
with a ball of fine cotton to polish it. Another 
coat can be laid over this in the same manner, if 
desired. It is now ready for wanting. The 
letters will now have to be written backward, 
which will require the drawing to be face down- 
ward ; pounce as before ; put on the gilding this 
time (if the powder does not work freely) through 
the pattern, the fibers will have to be cut down 
with a level block of pumice-stone. Mix lamp- 
black in equal parts, Japan, rubbing varnish, and 
turpentine. Temper with the last named ingredi- 
ent to a working consistency. When thoroughly 
dry proceed to write with this. Wash off the su- 
perfluous gold, when practicable, and shade as in 
ordinary sign writing. 



DECORATIVE PAINTER. 89 

Another metliod is to rub the front of the glass 
over with water and whiting. When dry, lay on 
your pasteboard patterns, and mark out with a 
sharp pointed hard wood stick. Turn the glass 
round, and paint backwards for gilding. Out- 
line with black asphaltum, these lines require to 
be fine, being designed only to enclose the gold. 
Size with a thin solution of gum arabic and wa- 
ter, and proceed to lay on the gold the same as 
above mentioned, when the back of the letters 
can be filled with asphaltum, which will require 
three coats ; this dries quick. Wash ofP, shade, 
etc. 

Small signs, door plates, etc., can be done by 
wetting the glass with the tongue, and having 
your leaf cut, take off the top paper, leaving the 
book remain on the table and press the sign down 
■upon it ; when covered repeat the operation until 
the second and third coats are laid, if the job 
should require it. When dry lay your patterns 
(paste-board) on the leaf to read backwards, then 
mark out the letters with a needle made fast in a 
handle. Immerse the sign in water a minute, 
when you can work out all superfluous leaf, by 
the use of a slim pine stick splintered at the end ; 
this requires to be pointed at the end similar to a 
black lead-pencil : it can be splintered simply by 
mashing it between the front teeth. When all 
unnecessary particles are worked out, wash off 



90 ROnsSEAU's HOUSE AND 

with, a flat camel's-liair brush and give three coats 
of asphaltum as before mentioned. 

It is quite important in glass gilding to have the 
glass, the size, and every thing you use, perfectly 
clean. A toucli of the finger on the glass will 
tarnish the gold. The leaf requires to be laid 
level, and when dry, polished thoroughly with a 
ball of cotton as before mentioned. Its uniform 
brightness depends in a great measure upon these 
points. Ornaments designed to show through the 
glass should be put on before the leaf is laid. Em- 
bossing on the surface of the gold can be done 
with any of the transparent colors. Etching can 
be done through the leaf before the black is put 
on, by using a sharp pointed slate pencil or hard 
wood stick, and pick in with the black. 

Enameled tin requires to be cleaned with alco- 
hol before lettering, to remove grease, etc., same 
as on glass. In lettering on enameled tin, cut a 
piece of paper a little larger than the tin, coat it 
over thickly and evenly with whiting, then take 
thick paste, the same as that used by shoe-makers, 
and paste around the edges. Place the whiting side 
down on the tin and double over the edges, and 
make it fast on the under side. When dry, lay 
on your letters or design, (which require to be 
pasteboard,) and trace them with some blunt 
pointed instrument, similar to a knitting needle. 
This requires to be used with considerable force, 



DECORATIVE PAINTER. 91 

by working it forward and back a few times. 
When dry, cnt tlie paper off by inserting a sharp 
knife around the edges ; lift the paper carefully 
off and you will have the outlines traced in white 
on the tin. For beginners, we would recommend 
a sheath board, {i. e.) a board somewhat longer 
than a slieet of boiler tin, with elects across at 
each end about one-half inch in thickness. Lay 
your sign on the table, and place the sheath over 
it, and you will have a rest for your arm without 
endangering the sign, which, can be drawn out as 
you are progressing with your work. Common 
tin can be written to have the appearance of sil- 
ver leaf by using the pasteboard patterns, and 
marking with some sharp and hard pointed in- 
strument, and filling it with black paint, as thick 
as will flow. 

Chinese painting is done by painting the ground 
any color, leaving the letters naked, and placing 
any colored foils back of them. They require to 
be crumpled up in the hand and partially straight- 
ened out before using. 

Political banners, etc., require to be stretched, 
and dampened quite through with a sponge, before 
writing. Mix color, equal parts, rubbing varnish, 
japan and turpentine, and tone with turpentine 
when required. For writing on paper, boards, 
etc., grind any of the dry colors in shellac var- 
nish and dilute with alcohol. 



92 Rousseau's house and 



ROUSSEAU'S 

{See page 82.) 



No. 1; size 10 and 20 inclies; price per set, 30 cts. 

SMITH & JONES' BLOCK 

No. 2; size 3. 5 and 10 incites; price per set, 25 cts. 

HARRIES 8l POWELL 

No. 3; size 4, 12 and 24 inclies; price per set. SO ct6. 
No. 4; size 3, 6, 12 and 18 inches; price per set, 25 cts. 

PHOVIBION DEALBH 

No. 5; size 4, 12, and 21 inches; price per set, 30 cts. 

MEAT MARKET 

No. 6: size 15 and 20 inches; price per set, 30 cts. 

WHOLESALE CLOTHING. 



DECORATIVE FAINTER. 93 

No. 7; size 6, 12 and 18 inclies; price per set, 30 cts. 

CARPET FITTSWG. 

No. 8; made only to order. 

Paints, Varnishes, &c 

No. 9; size 5, 10, 15 and 20 inches; price per set, 30 cts 

No. 10; size 6, 12 and 18 inclies; price per set. 30 cts. 

No. 11 ; size 18 inclies ; price per set, 30 cts. 

RESTAURANT. 

No. 12: made only to order. 

Elour, leal, Feed. 

No. 13; size 5. 10, 15 and 20 inclies; price per set 25 cts. 

156 ELIAS HOWE . 158 

Letters of all kinds made to order. In order- 
ing any of the above letters, address P. J. Koup- 
SEAU, sole manufacturer, Clarence Centre, Erie 
Co. K. Y. 



94 ROUSSEAU'S HOUSE AND 



't# itf f I 



I, KOB 



Importer, Manufacturer & Dealer in all kinds of 

Varnish & Artists' Brushes, 

striping and Lettering Pencils, 

STRIPING PENS, FINE TUBE COLORS, 
BRO^rZE POWDERS, ^c. 

Wliich will be sent by mail to any part of the United States. 



Enclose 3 cent stamp for circular and descriptive price list. 
Address 

P. J. ROUSSEAU, 

Clarence Centre. N. Y. 



ROUSSEAU'S 



BEING A FULL ANT) PLAIN TREATISE ON THE THEORY AND 
PRACTICE OF 



PLAIN AND DECORATIVE 

HOUSE PAINTING 

STAINING, GRAINING, 

PAPER-HANGING, SIGN- WRITING, &c. 



BY R J. ROUSSEAU. 



BUFFALO, N. Y.: {|| 

HA,AS & KELLEY, PRINTERS, 200 MAIN STREET. 



1871. 



> ■> 



.<:. 



OFiFicE, 111 :f-u-x.ton- ST., isTE-w iro:R:H: . 

J. W. MASURY, 

(Successor to MASURY & WHITON,) 

Proprietor Globe 

White Lead & Color Works, 

Maniifactxirer of pure 

AND 

PAINTERS' FINE COLORS, 

ALSO 

WHITE LEAD, ZINC & COLORS 

of various grades. 

As to quality and price to suit the demands of the trader 



Only Manufacturer of the 

CELEBEATED RAIL ROAD COLORS, 

For painting exteriors of countiy liouses, bams, fences, out- 
buildings, &c., more desirable than the best white 'lead and 
zinc, at about one-half tlie price. 

Circulars and Samples of the Colors sent on application. 





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